“When I was at my worst with my anxiety, even just being in a dance class was quite an anxious thing for me,” Ungar says. “In trying to calm myself down and be present, there was not always much space left for me to remember what I was physically meant to be doing.”

Learning and retaining choreography and corrections can be challenging for any dancer. But certain mental health conditions—like anxiety, depression, ADHD, OCD, and PTSD, to name a few—can make it even more difficult to process and retrieve memories. Understanding how these conditions impact the brain, and finding ways to both address those changes and improve overall memory, can help dancers cope.

How Mental Health Affects Memory

The effects of mental health on memory might differ based on the nature of the mental health condition, according to Paula Thomson, a clinical psychologist who works with dancers and is a professor at California State University, Northridge.

Depression affects the prefrontal cortex of the brain, “which is very involved in memory processing and retrieval,” Thomson says. That can make the mind feel less sharp, as well as disrupt hunger and sleep cycles. Without proper nutrition and rest, a dancer will be even less equipped to function at maximum memory capacity.

Anxiety-related conditions often result in divided focus, which means a person is attending to both the task at hand and their experience of anxiety. “When people have an anxiety disorder, they feel the anxiety so acutely that they can’t trust themselves to learn, because they just are so anxious about the catastrophic ‘what ifs,’ ” Thomson explains.

Some dancers might also dissociate as a coping mechanism for very high anxiety. Dissociation refers to a state of disconnection where an individual feels somehow separated from the present moment or their sense of self. “The memory area of the brain, the hippocampus, kind of shutters on and off because the anxiety dosing is so high,” Thomson says, which can cause memory gaps.

Tools for Dancers

When mental health issues lead to memory troubles, “step one is to recognize and attend to self-care,” Thomson says. If the problem is relatively mild, there are some tactics you can practice on your own. To calm anxiety, Ungar recommends taking a series of steadying breaths, which can help regulate the nervous system, leading to a decrease in the physical symptoms of anxiety. Thomson also suggests starting each day with an internal scan to gauge your physical and mental wellness, so you can then implement self-regulation skills to help you feel more present. Examine things like your anxiety levels, emotions, and appetite.

“If it becomes a persistent problem, seek professional help,” Thomson says. Consider reaching out to a mental health professional with experience working with dancers, creatives, or athletes, who can provide advice and coping strategies tailored to you.

To help improve memory, Kathleen McGuire Gaines—a former dancer and the founder of Minding the Gap, an organization focused on mental health advocacy within the dance industry—recommends using visualization techniques. Mentally running through difficult choreographic sequences and picturing yourself mastering them, for example, can help cement those sequences in your memory. “There’s been a lot of research done on how effective visualization is and the way it connects your mind and your body,” she explains.

Ungar agrees, adding that listening to the music aided her visualization practice. “Just getting used to the music really helped me, when I was in those situations where my anxiety was high and I was more stressed, to rely on memory a bit more,” she says.

McGuire Gaines encourages dancers to ask questions if the choreography isn’t sinking in. Additionally, if you feel comfortable, be honest about your mental health with your teacher or artistic director. They might be able to help provide resources and other support.

Advice for Teachers

Dance educators, who work so closely with their students, are sometimes the first to recognize when a dancer might be struggling with mental health. They are also particularly well-positioned to support them.

Claire Munday, who owns the UK-based RISE Studios and Tappy Toes, recommends checking in with each of your students to gauge their general well-being. “If they’ve had a really awful day, my approach to how I teach them is very different, as opposed to if I know they are a 10 out of 10,” Munday explains.

Kathleen McGuire Gaines, a former dancer and the founder of Minding the Gap, also encourages teachers to keep an eye out for dancers who might be struggling with memory, especially if this is unusual for them.

“That is a sign that a person is experiencing distress,” she says. “They may not want to talk to you, but opening that door of ‘I see you and I noticed­ this and I care about you’ may give them an opportunity to either tell you what’s going on or to seek the support they need.”

The post How Anxiety and Depression Can Affect Your Ability to Learn Choreography appeared first on Dance Magazine.

Fry, who left Ballet West in 2021 to focus on her luxury wedding cake business, Ballerina Baker, developed this cookie recipe to fill that gap. She frequently makes them at home with her two daughters, ages 1 and 3, and sends them to the theater with her husband, Ballet West principal Adrian Fry, during show weeks. “If you need that boost of energy before you go out onstage, these are a really good option,” she adds.

From Stage to Bakery

Long before Ballerina Baker was born in 2017, Fry was known at Ballet West for bringing baked goods to the studio for her colleagues to try. “Baking was always my therapy,” she says. “My way to destress from the high anxiety of the dance world.” What started as a way to monetize the work she was already doing—making wedding cakes for her friends, and friends of friends—is now a full-fledged business.

Fry only takes on 12 cakes a year—what she calls “edible works of art”—and flies them to weddings all over the country in a specialized box called a CakeSafe. This year she’s tackling her first two international projects, in Canada and Italy. “I feel like ballet is very similar to baking, where you are trying to achieve perfection, but you still have a lot of artistic freedom and voice within the boundaries of what is set for you,” she says. “I love that about both baking and ballet.”

Fry’s mentor, Maggie Austin, is a former Joffrey Ballet dancer who has made cakes for celebrities, royal weddings, President Obama’s White House Christmas party, and others. “She took me under her wing, and I started studying a lot from her on more intricate sugar work, sugar flowers, and just the artistry of cake decorating,” says Fry. “My brand now is very different from the brand when I started. It’s much more luxury-focused.”

Ingredients

• 1/2 cup unsalted grass-fed butter, ghee, or dairy-free alternative (“It doesn’t have to be grass-fed,” says Fry, “but it’s a bit more pure and has a higher unsaturated-fat content.” If taking the dairy-free route, Fry recommends Miyoko’s European-Style Plant Milk Butter.)
• 1/2 cup coconut-palm sugar (Fry prefers this white-sugar alternative—also called coconut sugar—because it’s less refined. She compares its molasses-forward, nutty flavor to that of brown sugar.)
• 1/4 cup pure maple syrup
• 2 large egg yolks
• 1 tsp pure vanilla extract
• 2 cups almond flour
• 1/2 cup arrowroot starch
• 1/4 tsp coarse sea salt, plus more for sprinkling on top of cookies (Fry loves using Maldon Sea Salt Flakes.)
• 2/3 cup semisweet chocolate chunks (If you’re concerned about gluten or dairy contamination, Fry recommends Enjoy Life brand for both types of chocolate in the cookies.)
• 1/3 cup dark chocolate chips

Instructions

1. Preheat the oven to 375˚ F. Line two baking sheets with parchment paper or silicone baking mats.
2. To brown your butter (or butter alternative) on the stovetop, melt the butter in a saucepan over low heat, occasionally swirling the pan, and allow it to come to a simmer. Once the butter begins to smell nutty and turn light brown in color, remove from the heat.
3. In the bowl of a stand mixer fitted with the paddle attachment, beat the browned butter and coconut palm sugar for 2–3 minutes, until smooth and light in color. (If you don’t have a stand mixer, Fry suggests using a hand mixer with the beater attachments.)
4. Add the maple syrup, egg yolks, and vanilla extract, and beat for another 2 minutes.
5. Add the almond flour, arrowroot starch, and 1/4 tsp sea salt, and beat until incorporated.
6. Turn the mixer down, and stir in the chocolate chunks and chips.
7. Using a tablespoon scoop or your hands, roll the cookie dough into roughly golf-ball–sized balls and place them on the baking sheets, leaving 2 inches of space in between.  
8. Bake for 9–10 minutes, or until the cookies are just starting to brown around the edges.
9. Remove the cookies from the oven and immediately sprinkle with the remaining sea salt, to taste. Let them cool on the baking sheets for 5 minutes, then transfer to a cooling rack.

The post Ballerina Baker Jordan Fry’s Grain-Free Chocolate Chip Cookies appeared first on Dance Magazine.

When addressed and managed, SI joint dysfunction is easily treatable. But when ignored, this condition can affect other structures in the body, potentially leading to more serious issues. “Your SI joint is your center of gravity, so you don’t want to ignore it for too long,” says Sylvie Le, a physical therapist and yoga instructor based in Rhode Island. “You will end up having pain down the kinetic chain, like in the lower back—even in the neck. There’s research that shows if there’s SI joint dysfunction, it can lead to jaw pain and headaches.”

What Is SI Joint Dysfunction?

The SI joints connect the sacrum (the triangular bone at the base of the spine) to the pelvis, providing stability and support to the spine while allowing for a small amount of movement. These joints don’t naturally have a large range of motion, and dysfunction can occur when they are moving either too much or not enough.

The SI joints play a key role in walking, running, and other similar motions, and dysfunction can also occur if one side is moving more than the other, or they are otherwise out of balance. “The SI joints might not be moving symmetrically, or they might be in a position in which they’re not neutral, or they might have shifted or rotated in one direction,” Le explains. “That can cause you to start overusing one hip and maybe underusing another. This can lead to poor load distribution up your spine.”

SI joint dysfunction can also manifest as pain and weakness in the groin/hip flexor area, snapping and popping in the SI joints (see sidebar), limping, pain while sitting, or a feeling of stiffness in the glutes and low back.

Causes and Treatment

Sigrist explains that SI joint dysfunction often can be the result of a weakness in the muscles that stabilize the joint, like the glutes, hip flexors, and abdominals. Less commonly, SI joint dysfunction can be caused by some form of blunt trauma—for example, if a dancer falls backwards and lands on their tailbone.

Strengthening the SI joint stabilizers can be an important aspect of recovery, and a physical therapist trained to work with dancers can offer specifically tailored recommendations. There are also common exercises to work into a warm-up, to help with mitigation and/or prevention (see sidebar). In addition to strengthening exercises, physical therapists might also do joint-mobilization work if stiffness is present. Use of stabilization tools, like tape or an SI joint belt, might also be recommended.

Sophie Lane, who co-founded Production Physiotherapy with Sigrist, cautions that dancers should be extra-aware of overstretching in the pelvic area. She emphasizes the importance of building strength and not pushing the body to its limit without the musculature to support it. “I like to see this area around your pelvis as your tree trunk, and your legs and your arms are your branches,” she explains. “If you build capacity and strength through the trunk, then that’s where we would like to see pain reducing and performance increasing.”

Pop, Pop

Sometimes dancers who are suffering from SI joint dysfunction may want to pop the joint for relief. But is this approach helpful or harmful? According to Sophie Lane, co-director of Production Physiotherapy, popping isn’t inherently bad, but it is usually a sign that an underlying condition needs to be addressed. “It won’t do any harm, but it will be short-term relief,” she explains, adding that the goal of working with a physical therapist is to move away from quick fixes towards establishing long-term solutions.

Strengthen and Support

Sylvie Le, MSPT, DPT, recommends the following exercises for strengthening the SI joint stabilizers:

Bird Dog: Start in a stable hands-and-knees position. Lift the right arm and left leg until they are parallel with the floor, without moving the trunk. Switch sides and repeat.

Glute Bridge: Start by lying on your back with your knees bent. Pushing through your feet and using your glutes, lift up into a bridge position.

Dead Bug: Start on your back with your legs in tabletop and your arms reaching towards the ceiling. Lower and straighten the left leg and right arm to 45 degrees,­ return to neutral, and repeat on the other side.

The post Pain in the Lower Back? Here’s Why You Shouldn’t Ignore It appeared first on Dance Magazine.

As I take some of the fitness classes, I realize how nice it is to see exercises demonstrated not just with proper workout form but also with pointed dancers’ feet and strong port de bras. Many of the newer workout videos feature both Gregson-Williams and Woodward, with one teaching and the other one taking the class while asking smart questions on form or commiserating over “the burn,” which helps me not feel so lonely on the other side of the screen.

Although the pair are hoping to attract everyday gym-goers who might want to take a beginner barre (their most popular video) from time to time, Woodward says the primary target audience is serious ballet dancers and students looking to complement their training, and former dancers interested in starting again. She hopes they take advantage not only of the ballet videos taught by world-class dancers but also the chance to cross-train effectively.

“Introducing Pilates and yoga into your practice is so crucial,” she says. “It’s been one of the biggest helps in my life, personally, for strengthening.”

Woodward adds that she hopes the fact that these videos live online—so you can take them without a mirror or other people nearby—turns them into a deeper mind–body experience: “I feel like this is a great way to go inward and see what you really feel in your body and what makes you feel best.”

The post I Tried Grace & Form, the New Ballet and Workout App by Pro Dancers appeared first on Dance Magazine.

In Indian culture, cooking is deeply tied to hospitality, a tradition Bhargava works to share with Rovaco’s audiences. “For the longest time I had a fear of proudly claiming my identity, and a lot of it had to do with growing up in postcolonial India, where it was ingrained in people’s brains that Western culture is superior,” he says. “Now I’m trying to unlearn those tendencies and highlight aspects of my culture and identity in my work.”

For the past few years, he’s put on the Rovaco Dance Party, where guests are immersed in a five-sensory experience that includes Indian food and drink. While Bhargava emcees the event, dancer Ashmita Biswas takes on the cooking and each year finds a new way to put her own twist on Indian street-food delicacies, drawing on influences from her native Kolkata and her Bengali upbringing. “We feel that culture is best understood when it is experienced firsthand, as opposed to just watching it from afar,” says Bhargava. “We let them experience the beauty of it.”

Bhangra Bops

Bhargava likes to listen to upbeat music while he’s cooking. He has also recently started learning bhangra, a traditional Punjabi dance form, and has found himself drawn to Punjabi music, especially songs by Diljit Dosanjh, Garry Sandhu, and Jasmine Sandlas.

This recipe yields 8–10 pancakes.

Ingredients

• 1/2 small red onion, finely chopped
• 1/2 small plum tomato, finely chopped
• 2 cups besan flour (The Hindi word “besan” translates to gram or chickpea flour. You can find besan at Indian or specialty grocery stores, or on sites like Amazon.)
• 2 tsps red chili powder (Red chili powder, as opposed to chili powder, tends to be hotter and is customary in Indian cooking. If you can’t find it, Bhargava suggests substituting with 2 tsps of finely chopped fresh green chilies.)
• 2 tsps salt
• 1 tbsp crushed kasoori methi/dried fenugreek leaves (“These come in a box that lasts forever,” says Bhargava. If you can’t find them, you can substitute 1 tbsp of finely chopped fresh cilantro.)
• 1 1/2 to 2 cups water (Bhargava says that the exact amount depends on your desired consistency.)
• vegetable oil or cooking spray for the pan
• chutney, hot sauce, or ketchup

Instructions

1. Chop half a small red onion and half a small plum tomato, and set them aside.
2. Combine besan fl our, red chili powder (or green chilies), salt, and fenugreek leaves (or cilantro) in a large bowl.
3. Add water, starting with 1 1/2 cups and adding more if you prefer a thinner consistency, and whisk vigorously until the batter is smooth and frothy, with no lumps.
4. Mix in the chopped onions and tomatoes and stir to combine.
5. Place a skillet over a medium flame, and grease it well with oil or cooking spray. When the pan is hot, add a ladleful batter to the center. Using the back of the ladle, spread the batter until it thinly coats the pan.
6. Once the batter solidifies and the edges lift from the pan, usually after 90 seconds to 2 minutes, use a spatula to flip the pancake. Cook the other side for roughly 90 seconds, occasionally pressing down with the spatula so that the entire cheela cooks evenly.
7. Remove the cheela from the pan, and enjoy it hot. (They can get dry once cold, adds Bhargava.) Serve with a condiment such as chutney, hot sauce, or ketchup.

The post Rovaco Dance Company Founder Rohan Bhargava Shares His Savory Indian Breakfast Recipe appeared first on Dance Magazine.

After her boyfriend’s death several years later, she wasn’t able to find the same catharsis in dance, however. Landreau decided to leave the company and make a cross-country move to Jackson Hole, Wyoming, where she currently teaches at Dancers’ Workshop and dances in its ensemble. “I’m still dancing, but unfortunately that loss has hurt me so much that my priorities have completely changed,” she says.

Moving Through Grief

Navigating the death of a friend, relative, or partner is a profoundly emotional experience. Because grief also impacts the body on a physical level, the unique demands of a dance career can add additional challenges. “The way the body responds is such a huge part of dancers’ jobs,” says Olga Gonithellis, the founder of Creativity Mental Health Counseling, a New York City–based mental health practice that works with artists, performers, and other creatives. “Grief has physical symptoms that are wide-ranging.”

Gonithellis explains that grief can result in feelings of increased fatigue or flu-like symptoms and can also impact motiva­tion, concentration, and memory. Loss that is unexpected and/or involves some form of trauma can result in an additional set of symptoms, such as dissociation, in which the “body and brain may feel kind of fragmented,” says Gonithellis. Feelings of anxiety, depression, and panic may also arise.

For dancers, the mental, emotional, and physical toll that grief takes on the body can present challenges in the studio and onstage. “You expect your body to be able to do certain things,” says Gonithellis. “After years and years of training, the body is supposed to know how to move a certain way and perform under pressure. That can be disrupted in the brain, particularly when it’s forced to have a fight-or-flight response to traumatic loss.”

For some artists, grief can provide a surge of creativity, offering­ an outlet for expressing challenging and complex emotions. After losing her mother to cancer, Lucy Jane Doherty, an Australi­a-­based­ dance artist, channeled the experience into her Dancing for Jane project, a series of four dance films made in her mother’s memory. “Right after losing my mom, I actually felt a surge of energy,” Doherty remembers. “That was creative energy—that’s where I channeled it.”

Coping and Healing

Grieving is a deeply personal experience that impacts everyone differently, which means that the most effective tools for coping and healing are also very individual. Gonithellis suggests seeking a grief therapist with experience treating dancers or athletes, as they are often better able to understand the intricacies of navigating grief in conjunction with a dance career. She also encourages dancers to expand their network, possibly through joining a grief support group in the local community. If dancing or choreographing aren’t providing an effective creative outlet, Gonithellis encourages dancers to explore a different medium. Writing can be particularly helpful, she says, adding that keeping a journal is a great place to start.

Both Landreau and Doherty emphasize the importance of allowing ample time and space for grief and prioritizing self-care in the aftermath of a loss. Landreau treated her body as though she were nursing an injury, and focused on basic needs, like food, water, and sleep. “Those very simple things really helped my mental health to rebuild itself and my body to heal, so that I could stretch, get stronger and eventually dance again,” she says.

Doherty agrees that, when grappling with a loss, taking a step back from dance, work, and other responsibilities can also be an important step for healing. “It’s okay to just stop and do small things that nurture you,” she says. “Don’t have any big goals, you don’t have to do anything drastic. Just be in that stillness and be with that grief.”

Resources

Olga Gonithellis, Charlotte Landreau, and Lucy Jane Doherty recommend the following resources for dancers who are grieving:

Online

• Vitas Healthcare grief support groups: Choose from a variety of virtual, specialized grief support groups.
• Pathways Center for Grief and Loss Adult Support: Through this Pennsylvania-based facility, get information about a variety of virtual and in-person grief resources and support groups, plus connect with a grief counselor.
• Good Mourning: A podcast about grief

Books

• Bearing the Unbearable: Love, Loss, and the Heartbreaking Path of Grief, by Joanne Cacciatore, PhD
• Resilient Grieving: How to Find Your Way Through a Devastating Loss, by Lucy Hone, PhD

The post How to Navigate a Performing Career While Grieving appeared first on Dance Magazine.

But for Lensi, who is allergic to dairy, eggs, nuts, and kiwifruit, it wasn’t as easy as going to a restaurant or following a standard recipe. “I decided I needed to figure out my own recipe,” she says. With the help of her mom, tuning in from Milan via FaceTime, Lensi experimented with coconut flour and brown rice flour before settling on oat. She also learned that chia seeds can act like an egg substitute, binding the batter together. “There were a lot of trials and errors, but I figured out that it is possible to make pancakes if you have a lot of food allergies, or you just want to avoid eggs or dairy,” says Lensi.

The Joy of Cooking

Living with severe allergies while managing ABT’s grueling rehearsal and touring schedule hasn’t always been easy for Lensi. Eating out or relying on prepared food is rarely an option. “When I was younger, I always felt like cooking was a chore because I have to do it literally every day,” she says, adding that even on tour, she cooks her own food; the company travels with a microwave for her to use. But recently, thanks to cooking together with her boyfriend, ABT dancer Andrii Ishchuk, and experimenting with recipes she finds on Instagram and YouTube, she’s learned to relish her time in the kitchen. And when that’s not enough? “I like to put a TV show on, and that makes it more enjoyable,” says Lensi. “I love any comedy show. Right now, I’m rewatching ‘Ugly Betty.’ ”

Knives Out

The one kitchen tool that Lensi can’t live without is sharp knives. “I love having good knives,” she says. “Because my arms are not super-strong, if I have a bad knife I really have to push too hard. I am really picky about that.”

Ingredients

• 1 cup oat flour
• 1 cup oat milk
• 1 tbsp olive oil, plus extra for greasing the pan
• 2 tbsps cane sugar (“I personally like the taste of cane sugar,” says Lensi. “It has more of a flavor, and growing up I always used it.”)
• 1 tbsp chia seeds
• 1/2 cup semisweet chocolate chips (“I use the brand Enjoy Life, because it’s free of 14 common allergens,” says Lensi.)
  Toppings
• berries
• maple syrup

Instructions

1. In a large mixing bowl, combine oat flour, oat milk, olive oil, cane sugar, chia seeds, and chocolate chips. Mix until the batter is smooth. If it feels too thick, you can add a bit more oat milk as needed.
2. Set a nonstick pan over medium heat. Pour some olive oil onto a paper towel and use it to grease the pan. (Lensi stresses the importance of this step: “If you don’t use the paper towel, the oil goes around the pancake instead of underneath, and the pancakes stick to the pan.”)
3. Using a soup spoon or ladle, spoon small amounts of the batter into the prepared pan to create individual pancakes. Allow them to cook until small bubbles form on the surface, then carefully flip them with a spatula.
4. Top the pancakes with a generous serving of fresh berries, and drizzle with maple syrup. Serve warm, and enjoy!

The post American Ballet Theatre’s Virginia Lensi Shares Her Allergy-Friendly Oat Pancakes appeared first on Dance Magazine.

Morris became interested in cooking as a teenager, helping out his widowed mother. Years of traveling and touring have served to develop his passion. “I can do Indonesian, I can cook a Spanish meal, I can cook Italian food, French food…Chinese I’ve just been starting to get kind of good at,” says Morris. When asked if his approach to cooking has any similarities to his approach to choreography, he answers cheekily, “In that I’m very, very good, yes.” Morris adds that though cooking takes less time than making a dance, they both have ephemeral results. “You cook for hours or days, and then everyone eats it in five minutes,” says Morris. “Same with a dance. I work on it for years, and you’re done in 20 minutes. It’s both true and a joke at the same time.”

Ingredients
Yield: 6 servings

• 5 tbsps canola oil or peanut oil
• 6 whole cardamom pods (black or green)
• 6 whole cloves
• 1 cinnamon stick or 3/4 tsp ground cinnamon
• 3 chili peppers, split in half (jalapeño or Thai, with heat level to taste)
• 1 tbsp grated ginger
• 3 medium red onions or 5 shallots, thinly sliced
• 6 cups any mixed vegetables, cut into about 3/4-inch chunks (Morris recommends any combination of sweet potatoes, eggplant, peas, long beans, pumpkin or squash of any kind, potatoes, carrots, cauliflower, and bell peppers.)
• 5 fresh curry leaves
• 3 cups water
• salt (to taste)
• 3 cups unsweetened
  coconut milk
• 1 tsp peppercorns (red, black, or white), crushed

Instructions

1. Heat the oil in a large saucepan or Dutch oven over medium heat. Add the cardamom pods, cloves, and cinnamon, and stir. After approximately 30 seconds, add the chili peppers, ginger, and onions. Sauté, stirring, until the onions are soft and translucent, about 3 minutes.
2. Add the mixed vegetables, curry leaves, water, and a generous pinch of salt. Cover, reduce the heat to low, and cook until the vegetables are cooked through, about 15–20 minutes.
3. Add the coconut milk and crushed peppercorns. Simmer on very low heat (to avoid curdling) for about 2 more minutes.
4. Serve the stew with rice or papadam (an Indian flatbread made from bean flour).

The post Mark Morris Shares His “Stone Soup” Kerala Vegetable Stew Recipe appeared first on Dance Magazine.

Tacy’s experiences aren’t unusual, especially for dancers who are experiencing a dramatic ramp up in their activity level. Joshua Metzl, an orthopedic sports medicine physician at UCHealth Steadman Hawkins Clinic who works with dancers at Colorado Ballet, says that increasing the amount of time spent training—and the resulting potential for overuse—is the leading cause of plantar fasciitis among dancers.

What Is Plantar Fasciitis?

Plantar fasciitis is an inflammation of thick tissue on the bottom of the foot called plantar fascia. It often shows up in dancers as pain in the heel, especially when doing weight-bearing exercise. Metzl notes that it’s often most painful first thing in the morning, and symptoms can ebb and flow throughout the day.

In addition to a sudden increase in activity levels, plantar fasciitis can also be triggered by changes in footwear, like switching from pointe to flat shoes. The quality of the studio floor or performance surface can have an impact. Outside of the studio, walking more than normal and/or on different types of surfaces can lead to plantar fasciitis.

Although plantar fasciitis is common amongst dancers, there are other conditions that could be causing similar pain. Metzl explains that the bones of the feet could also be to blame, with common bone-related plantar fasciitis doppelgangers instead being calcaneal stress fractures and calcaneal apophysitis, an inflammation of the growth plate in a younger dancer’s heel. An X-ray can help determine the root cause of this kind of foot pain.

Treatment and Healing

Treatment for plantar fasciitis usually involves working with a physical therapist to establish a daily stretching and strengthening program for the plantar fascia, Metzl says, adding that if the condition is more chronic and doesn’t respond to initial treatment, an MRI, corticosteroid injection, and/or a platelet-rich plasma injection, which acts as a localized anti-inflammatory, might be used as well.

At the onset of symptoms, Tacy recommends taking over-the-counter anti-inflammatories to ease pain, as well as employing gentle massage techniques. She says that icing—either by simply applying an ice pack to the bottom of the foot or by gently rolling out the sole with a frozen water bottle—can be helpful.

It’s also important to be strategic about daily footwear. Metzl says wearing orthotics or arch supports in your shoes can relieve symptoms by off-loading pressure from the plantar fascia. Tacy found that choosing shoes with a wide toe, which better mimics the natural shape of the foot, proved helpful. In more severe cases, a walking boot might also be recommended. Although plantar fasciitis does not always necessitate time off from dance, don’t underestimate the power of rest to ease and prevent pain. “There’s a really great saying: ‘If you don’t choose when to rest your body, your body will choose for you,’ ” Tacy says.

It’s All Connected

When plantar fasciitis is severe, dancers might decide to modify their technique to mitigate pain. Although this might feel like a way to muscle through class or rehearsal, both Metzl and Tacy agree that this approach can cause more issues down the line. “The term we use in orthopedics is ‘kinetic chain’—all of these structures in the body are interconnected,” Metzl says. This means that untreated plantar fasciitis has the potential to lead to pain in other areas of the body, like the knees, calves, hips, and low back.

When Tacy was dancing professionally in New York City, she suffered a serious injury that sidelined her for months. Although the injury involved an accident with a set piece and wasn’t directly related to plantar fasciitis, she believes that imbalances caused by her foot pain were a contributing factor to injury severity and recovery time. “As soon as I graduated college and got my first job, lo and behold, the foot that was most affected by plantar fasciitis was the one that I injured,” she says. “Looking back, I can see how it’s all connected. If I had taken care of my plantar fasciitis and strengthened and healed my foot in the correct way, I don’t think that my injury later would have been as severe or would have needed as much care.”

Two Stretches for Plantar Fasciitis

Joshua Metzl, an orthopedic sports medicine physician who works with Colorado Ballet dancers, recommends these two stretches for dancers suffering from plantar fasciitis.

Calf stretch with a towel roll

1. Roll one edge of a towel.
2. Stand on the towel with one foot, with the rolled portion under your toes and metatarsal and the flat portion under your heel.
3. Assume a small lunge position, with the back leg straight and on the towel, and the front leg slightly bent.

FHL tendon glide

The flexor hallucis longus (FHL) tendon connects the calf to the big toe and plays a big role in pointing the toes and standing on pointe.

1. Place your feet flat on the floor.
2. Keeping the heel and ball of your foot in contact with the floor, lift the toes.

The post How to Identify and Treat Plantar Fasciitis appeared first on Dance Magazine.

For Nickie, cooking is more than just a hobby. “Growing up, it was either becoming a dancer or going to school to become a chef,” says Nickie. Though he picked the former, he’s still looking for ways to turn his passion for food into a career. He runs his own prepared-meal business, and tracks his ventures in the kitchen on Instagram @chef_nickie. “Cooking is very therapeutic for me,” says Nickie, who prefers to spend time in the kitchen by himself. “I know exactly what I’m doing.”

Seasoning as Accessories

Nickie applies the same philosophy to cooking that he does to fashion. “Your body is the base in terms of fashion, where in cooking the base will be your rice, your meats, your beans,” he says. “The seasoning is the accessories. You don’t want to be too much, and you don’t want to undercut yourself either. Mix and match—sometimes it works and sometimes it doesn’t, but you’ll learn for next time.”

Tune In to Your Ancestors

Nickie urges other cooks to taste as they go—he learned to cook by observing, not measuring, and sees all measurements as a guide rather than a rule. “When our ancestors tell us to stop pouring seasoning, that’s when we stop,” he says.

Ingredients

• 1 lb extra-sharp cheddar cheese (“In Trinidad, we use New Zealand cheddar cheese,” says Nickie.)
• 1 lb grated parmesan cheese
• 1 tbsp salt, for boiling pasta
• 1 lb (16 oz) dried elbow macaroni, penne, or other shaped pasta
• 2 tbsps unsalted butter, softened, plus more to grease pans
• 1 1/4 cup evaporated milk
• 1 1/4 cup heavy cream
• 8 oz cream cheese (Nickie says that you can substitute
  2 whisked eggs for the cream cheese, which binds the dish together, though he prefers the richer taste of the cream cheese.)
• 1 large carrot, grated
• 2 tsps granulated garlic
• 2 tsps onion powder
• 2 tbsps ketchup
• 1/2 cup creamy French dressing (“My secret weapon,” adds Nickie.)
• 1/2 tsp freshly ground black pepper
• 1/2 tsp adobo seasoning
• 1/2 packet Sazón seasoning
• 2 whole pimiento peppers from a jar, finely chopped
• 1/2 tsp dried parsley or fresh parsley, finely chopped

Instructions

1. Preheat the oven to 350°F.
2. Shred the cheddar cheese using the large side of a box grater.
3. Mix the shredded cheddar together with the grated parmesan cheese, then divide the cheese mixture in half.
4. Bring a large pot of water (4–5 quarts) to a rapid boil. Add salt and pasta. Stir for the fi rst minute or two to prevent sticking, then cook until al dente (about 8–10 minutes) and drain. While the pasta is still very hot, return it to the pot. Add softened butter and mix until melted. Place the pasta in a bowl and set aside.
5. Place the same large pot over low to medium heat and add the remaining ingredients. Stir together until the sauce is smooth and creamy.
6. Add half the cheese mixture and stir until combined.
7. Add the pasta to the cream sauce and mix well.
8. Grease one or more glass or ceramic casserole dishes with softened butter.
9. Pour the cheese-and-pasta mixture into the dishes and top with the remaining half of the cheese.
10. Bake the macaroni pie until the top is golden brown, about 30–45 minutes.
11. Allow the pie to cool, then cut it into squares to enjoy. (“Pray for discipline,” adds Nickie.)

The post Keon K. Nickie, Artistic Assistant of Dallas Black Dance Theatre: <i>Encore!</i>, Shares His Family’s Trinidadian Macaroni Pie appeared first on Dance Magazine.

More than 500 dance medicine and education professionals gather each year, both in person and virtually, to share and learn how to better achieve health for dancers, and health for our communities through dance. The most recent conference, held in Columbus, Ohio, in October 2023, hosted 121 presentations and movement/interactive sessions and 22 poster presentations by practitioners from all over the world. Here is a small sampling of the remarkable breadth of work presented and topics discussed.

• Strength and conditioning had a heightened presence, with practitioners emphasizing that dance practice and physical therapy alone will not fully support a dancer’s needs. “A physical therapist can only get you back to baseline, legally, and there is a gap between your baseline and your best, strongest self to avoid injury,” said Catherine Cullen, DPT, in a panel about optimizing training and development.

• A study of dancers at the English National Ballet School looked at the impact of the COVID-19 lockdown on musculoskeletal injuries (those that affect bones, joints, ligaments, muscles, or tendons) in pre-professional ballet dancers. Overall, dancers have a 76% injury risk, which is higher than in traditional sports. The total number of injuries sustained by dancers pre- and post-COVID lockdown was similar, but there was a significant shift from overuse injuries (such as stress fractures) pre-lockdown to acute injuries (such as sprained ankles) post-lockdown. Proportionally, there were more acute injuries in male and first-year dance students post-lockdown. (Manuela Angioi, Emily Gordon, Juncal Roman Pastor)

• Understanding and supporting neurodivergent dancers was an emerging topic. Research suggests that the link between neurodivergence and hypermobility demands more research to better understand dancers. Dr. Jessica Eccles presented her extensive research on the hypermobile population and correlations to the neurological aspects of a dancer’s experience. “Hypermobility is so much more than just having hyperflexible joints. It is having a difference in the building blocks of the body that affect almost everything,” she said. Dancers are more likely to be hypermobile than the general population. There has been research demonstrating that if a person has symptomatic hypermobility, they are seven times more likely to be autistic, and five times more likely to have ADHD. Eccles challenges practitioners that, “If we are seeing neurodivergent people, we must think about hypermobility, and if we are seeing hypermobile people, we must think about neurodivergence.”

• One study looked at coping strategies and flow state (a state of optimal experience arising from intense involvement in an activity that is enjoyable) in 293 dancers with and without post-traumatic stress disorder. 64% of the dancers had experienced significant trauma, and the prevalence rate of PTSD among those dancers was 20.8%. Dancers with suspected PTSD had increased anxiety, depression, disassociation (a state of being disconnected), and difficulty regulating negative emotions. However, despite the negative factors, dancers with PTSD experienced flow states like those dancers who had no trauma exposure, indicating the potential supportive nature of dance practice. (Paula Thomson, Sarah Victoria Jaque, Mariko Iwabuchi)

• Dancers’ use and trust of available medical support was the theme of several presentations. One study looked at the prevalence of dance-related injuries in 141 commercial dancers in the U.K., the U.S., and Europe, as well as their access and use of medical support. The primary injuries reported­ were to the lower extremities and the neck. 17% of the dancers reported five or more injuries over five years. 87% of the dancers experienced an injury and required­ health care, but 74% of the dancers with an injury did not seek health care. The most commonly cited reason for not accessing health care was that the dancer could not afford it. Many of them expressed that they did not seek care because they didn’t think that the medical providers would understand their needs. (Jeffrey A. Russell, Stephanie Petery, Leanne Hodgson, Rithiely Pereira)

IADMS’ 2024 conference will take place in Rimini, Italy, October 17–20. The 2025 conference will be held in Las Vegas, Nevada, September 25–28. n

The post The 2023 International Association for Dance Medicine & Science Conference Explored Dancers’ Physical and Mental Health appeared first on Dance Magazine.

“I like everything natural,” says Chandrashekar of her cooking habits. “I don’t like coloring, and I believe a lot in fresh food. Nothing preserved, nothing too refrigerated or overheated. I think we all need to be conscious that we don’t shock our systems.” A vegetarian, she emphasizes vegetables, lentils, and lots of fluids. “I can tell you I cook quite tasty food,” she says, adding that the friends she’s made while touring around the world all appreciate her Indian cooking. “They really love it,” she says. “Because each recipe comes with a very exquisite combination of spices and herbs.

A Holistic Approach

For Chandrashekar, practicing classical dance and yoga seeps into every aspect of her life—including the food she consumes. “Yoga is not just about wearing yoga pants and doing some asanas, and dance is not just about wearing a costume and coming up onstage, butto live that experience even offstage,” she says. When deciding what to eat, Chandrashekar keeps in mind the Ayurvedic principle of sattva, which she translates as purity of mind. “We need activities and food that trigger that compassion in us, the feeling of love for everybody,” she says. “So when you eat calming food, or something that’s very pure, you trigger that sattva in you.”

Ingredient Key

asafoetida: Known as hing in Hindi, asafoetida is a gum resin extract from ferula, a celery-like herb. It’s purchased in a powdered form, and small amounts of it are commonly used in Indian cooking. If you don’t have an Indian grocery nearby, it’s available on Amazon for under $6.

tamarind: A common flavor in Indian, Mexican, and Thai cooking, whole tamarind pods can be purchased at most specialty or Latin markets. They’re also available online, as is tamarind pulp, which can be watered down for use in this recipe.

pigeon pea: Also called toor dal, pigeon peas are a dried legume similar to yellow lentils. Puerto Rican and Filipino cuisines also make use of pigeon peas. The Latin brand Goya, which is available in many grocery stores, sells them. They’re also available from a number of online suppliers.

Ingredients

• 1 tbsp ghee
• 1 tsp mustard seeds
• 1/2 tsp asafoetida (hing), divided
• 35–40 fresh curry leaves, divided (“I take them from the plant in my garden,” says Chandrashekar. “All the Indian stores sell curry leaves, but during the summer they grow quite well in a pot.” While not Chandrashekar’s preference, dried curry leaves are also available for purchase online.)
• 2 cups tamarind water (Chandrashekar makes this herself by soaking tamarinds in hot water and squeezing the juice out. “But if you don’t have time, you can get it in Indian stores,” she adds, or you can buy compressed tamarind pulp and dilute it in hot water.)
• 2 tbsps dried pigeon peas (toor dal)
• 1 tbsp cumin seeds
• 1/2 tbsp black peppercorns
• 2 dried red chilies
• salt to taste

Instructions

1. Heat the ghee over medium heat in a stainless-steel pan with a copper bottom (Chandrashekar stresses that any stainless steel pot or pan will do, it should just not be nonstick). Add the mustard seeds and let them splutter.
2. Add 1/4 tsp asafoetida and 10–15 curry leaves to the pan and sauté for a few seconds.
3. Pour in the tamarind juice and let it come to a boil, then reduce the heat to low and let the mixture simmer.
4. In the meantime, prepare the powder. Grind the toor dal, remaining curry leaves, cumin seeds, black peppercorns, dried red chilies, and 1/4 tsp asafoetida in a mortar and pestle until you achieve a fine powder.
5. Add the prepared powder to the juice mixture, and stir well to combine.
6. Season with salt according to your taste, cover the pot, and let the jeera rasam continue simmering for about 5 minutes.
7. Remove from heat and serve hot with rice, bread, curried vegetables, or on its own as a soup .

The post Bharatanatyam Dancer Bala Devi Chandrashekar Shares Her Indian Soup Recipe appeared first on Dance Magazine.

Now, Patrick strives to bring her firsthand knowledge of mental health into the classroom—to support her students not only in their dance technique and performance, but also as they cope with the challenging emotions that can arise in the studio and onstage.

What Is a Panic Attack?

Josh Spell, MSW, LICSW, consulting therapist for Pacific Northwest Ballet and owner of Flexible Mind Counseling, describes a panic attack as a state of “overwhelm, in terms of your nervous system,” adding that panic attacks are tied to the body’s fight-or-flight response, an evolutionary reaction designed to keep us safe from danger.

Individuals having a panic attack might experience heart palpitations, sweating, trembling, shortness of breath, feelings of choking, chest pain, nausea, dizziness, lightheadedness, chills or sensations of heat, and/or numbness and tightness. Spell also says panic attacks can cause depersonalization or derealiza­tion, which means a person feels out of touch with their body and/or the current moment. “Dancers and clients that I have worked with have said, ‘I feel like I’m having a heart attack, I feel this immense pressure and weight,’ ” Spell says. “It is very destabilizing and individuals often freeze.”

Although sometimes panic attacks can have seemingly no cause, a stressful environment or a fear of losing control can be potential triggers. People can be triggered by situations ranging from an upcoming performance to a concern about their health.

How Do Panic Attacks Affect Dancers?

Although panic attacks can be incredibly scary and debilitating for anyone, the performance-based nature of dance introduces additional challenges. For Patrick, the intense anxiety that sometimes resulted in panic attacks inhibited her from attending auditions. “I felt, because of my anxiety, I wouldn’t be able to make it through auditions,” she remembers.

Spell adds that panic attacks can also lead to avoidance or an increase of anxiety in situations that precipitated an episode in the past. For example, if a dancer experienced a panic attack prior to a performance, they might develop increased performance anxiety, or they might even avoid a certain step due to fear.

“Overall, this can affect a dancer’s sense of self, and it can definitely affect their confidence,” Spell says. “It shows up as a barrier to being able to put yourself fully in and take those risks that it takes to be a dancer. It’s sort of this conditioning that starts to evolve into a more paralyzing state.” 
 

Tools for Treatment and Coping

For dancers experiencing panic attacks, Spell recommends seeking professional assistance. Mental health professionals can provide tailored guidance to help navigate the best treatment options. Spell says that providers will usually start by explaining the biology of a panic attack. Then an exposure-based treatment, which helps decrease the body’s fear response when approaching a trigger, might be used. Distress-tolerance skills, like mindfulness and grounding techniques, are often taught along with treatment.

The lessons learned in therapy can be implemented whenever panic and anxiety begin to take over. For example, exercises that divert attention toward noticing the five senses can be helpful in times of distress. Spell recommends sensory items, like fidget spinners or squishy balls, and Patrick suggests aromatherapy, as well as a visual exercise called “find your rainbow,” which involves identifying one item in your surrounding environment that corresponds to each color of the rainbow. She also highlights the importance of taking breaks during class or rehearsal for dancers who need time to use these skills to address challenging emotions.

Understanding what’s happening in the body can be impor­tant as well. “Sometimes that fight-or-flight response gets taken out of context,” says Spell. “There’s not a saber-toothed tiger chasing after an individual anymore, but maybe stepping into an audition or getting ready to go onstage feels like you’re being chased. You can remind yourself, ‘Okay, this is my body’s way of protecting me, but I don’t need it to protect me right now. There are other ways that I can experience and cope with my anxiety.’ ”

Panic Attack vs. Panic Disorder

According to therapist Josh Spell, MSW, LICSW, about 20 percent of the population will experience a panic attack in their lives. A smaller subset, however, will experience panic disorder, which is characterized by recurring panic attacks, for one month or more, and an accompanying fear of having another panic attack in the future. Panic disorder can also cause individuals to avoid certain stimuli or situations that they think might trigger an episode. 

The post A Dancer’s Guide to Managing Panic Attacks appeared first on Dance Magazine.

Although shin splints have presented a challenge for Hoy, she says she’s learned ways to manage the condition and curb flare-ups so she can continue to perform. With an intentional, prevention-focused approach, dancers can get ahead of shin splints so they don’t put a damper on dancing.

What Are Shin Splints?

Shin splints, or medial tibial stress syndrome, refers to “pain in the muscles on the front of the lower leg, below the knee and along the shin bone,” says Joshua Honrado, DAT, an athletic trainer who works with dancers at NYU Langone’s Harkness Center for Dance Injuries. Dancers are particularly prone to shin splints, especially when they experience a sudden increase in rehearsals or performances, such as during Nutcracker season. “Exercise naturally increases blood flow to the muscles, causing the muscles to expand,” Honrado explains. “This is a natural occurrence, but if the body isn’t able to heal efficiently after continuous bouts of intensity, the intramuscular pressure will continue to build up, making it hard for the body to heal properly.”

Getting the Right Treatment

Typically, shin splints are easy for a health-care provider to diagnose, Honrado says, but it’s important to seek professional guidance to ensure you aren’t suffering from a more serious injury, like a stress fracture. Pain on the bone, or a feeling of numbness or tingling, can be indicative of a larger issue.

For dancers who are experiencing shin splints, a doctor might prescribe an X-ray or a compartment pressure measurement test (which gauges the difference in intramuscular pressure before and after physical activity). For shin splints, the first step to recovery is often rest or modification. “Reducing training volume, whether this means decreasing the amount of jumps or relevés, will help decrease the intramuscular pressure,” Honrado explains, adding that “this doesn’t necessarily mean needing to completely stay out of dance.”

Hoy says that icing before and after performances and using tape to “give a little extra security” were key to her managing shin splints. She also recommends finding a health-care practitioner specializing in dry needling to help release the muscles in the shin area.

Preventing Future Flare-Ups

For dancers who are prone to shin splints, it’s helpful to anticipate stressors. When there’s an increase in dance-related demands, such as a busy performance season or learning a new piece of choreography with a lot of jumping, Honrado recommends slowly ramping up exercise to prepare the body. “Gradually incorporating plyometric exercise around two to three weeks before this increased bout of dance is important in order to gradually build up that muscular endurance and flexibility so there isn’t a shock of a rapid increase in intramuscular pressure,” he explains.

If leaps or extended periods of jumping aggravate the shin splints, Honrado recommends starting with a very basic jumping program (he suggests sautés and changements in parallel, first, and second positions, as well as prances in parallel) for about five minutes, three times per week. For those with access to a Pilates reformer, working with the jump board is also a good option. Honrado says that high-intensity interval training (HIIT) might also be an effective way to incorporate muscular endurance and cardio-respiratory exercise, but he tells dancers to be mindful of the intensity, as these classes could aggravate shin splints if they aren’t part of a tiered ramp-up process.

It’s also important to be honest with your teacher, choreographer, or artistic director when you’re battling shin splints. Speaking as both a dancer and member of the artistic staff at Trinity Irish Dance Company, Hoy encourages dancers to be transparent about how they are feeling. “We want to protect [dancers] in the long run,” she says. “As an organization, we need our dancers to be as healthy as they can, but it’s also for their life, as well, because those injuries can carry through whether you’re still in your career or you’ve retired.”

The post Tips For Preventing and Managing Shin Splints appeared first on Dance Magazine.

Marshall learned to cook from both travel cooking shows and his mother. Many of his favorite dishes to prepare, like jerk fish, curry chicken, rice and peas, and plantains, pay homage to his family’s Jamaican heritage. “I cook with nutrition in mind, which is why I tend to undercook the vegetables,” adds Marshall, who shies away from processed foods. “But I also cook with color. Getting excited about that is definitely a fun way of making it creative.” 

Sans Salt 

Marshall doesn’t cook with much salt, a habit passed down from his family. “It’s mostly my Jamaican side,” he says. “They don’t use salt. It comes from the Rastafarian diet, called Ital. My grandmother used to say that salt is not a seasoning; salt is salt.” To bring out the flavors in food, Marshall instead relies on combinations of spices.

Ingredients

• 1 package extra-firm tofu
• 1 tbsp curry powder, divided in half (Marshall­ alternates between using Jamaican­ and Indian curry powder.)
• 1 tsp turmeric, divided 
•  1 tsp cumin, divided
• 1 tsp chili powder, divided (optional)
• salt and pepper to taste
• 2 carrots
• 1 sweet potato (“I personally don’t peel the carrots and sweet potatoes,” says Marshall, “but you can if you want.”)
• 1/2 yellow onion
• 3 garlic cloves
• 1 bell pepper of any color
• handful of additional veggies of choice, such as Brussels sprouts, peas, or broccoli
• 1 cup white or brown rice
• 2 cups water (additional 1/2 cup if making brown rice); plus 1 cup extra for Step 7
• 1 tbsp coconut oil
• 13 1/2-oz can coconut milk 
• splash of white vinegar or lime juice (“My partner has a citrus allergy, so the vinegar is a creative solution for adding acid to finish it off,” says Marshall.)
• cilantro to garnish (optional) 

Instructions 

1. Cut the tofu into 1-inch cubes and place it in a large bowl. Using paper towels, gently squeeze excess water out. 

2. Season the tofu with half the curry powder, half the turmeric, half the cumin, half the chili powder (if using), and salt and pepper. Mix gently and set aside. 

3. Prepare the vegetables: Cut the carrots and sweet potato into medium-sized cubes, place into a small bowl, and set aside. Cut the onion, garlic cloves, and bell pepper into medium-sized cubes, and set aside in a separate bowl. Cut any additional vegetables into bite-sized pieces, and place in a third bowl. (“I tend not to cut any vegetables too small because they’ll get kind of mushy and the nutritional content will get taken out,” says Marshall.)

4. Make the rice: Combine the rice and water in a large pot (use an extra 1/2 cup of water if making brown rice), and bring the water to a boil. Cover and reduce to a simmer until the rice is fully cooked, roughly 15 minutes for white rice and 30 minutes for brown. 

5. As the rice is cooking, add the coconut oil to a wok or large pot over medium heat. Add the sweet potato and carrots, moving constantly with a wooden spoon until all sides are gently browned. 

6. Add the onion, garlic, and pepper, and cook for 1 minute, stirring constantly. Season with additional salt and pepper, as needed. 

7. Add the tofu, coconut milk, and 1 cup of water, and stir the mixture together. Let it come to a boil, then reduce heat to a simmer. 

8. Add the additional vegetables, stirring gently, and the remaining halves of curry powder, turmeric, cumin, and chili powder (if using), plus salt and pepper. Let cook until vegetables achieve desired firmness.  

9. Just before taking it off the stove, finish with white vinegar or lime juice. 

10. Serve curry on top of a scoop of rice. Garnish with cilantro (optional) and additio­nal lime or vinegar.

The post Choreographer Kyle Marshall Shares His Leftover-Friendly Coconut Tofu Curry Recipe appeared first on Dance Magazine.

Let’s be clear: There’s always room for sweets in a dancer’s diet. Avoiding sugar altogether can drive a challenging relationship with food. Instead, incorporate sweets regularly into your meal plan by identifying inclusive patterns of eating that leave you feeling good, both physically and mentally.

Don’t Make It All or Nothing

The mere suggestion to eat sweets “in moderation” implies the need for avoidance—setting the stage for experiences like overeating and food guilt. The more you attempt to control your intake of these foods, the more out of control you’re likely to feel. Instead, strive for unconditional permission, removing any potential consequences—a calorie count, an extra workout—that might be attached to your treat. With this sense of permission comes a deeper sense of self-trust, a feeling of “I know I can enjoy this again, soon.” Ultimately, that will make you more inclined to honor feelings of fullness.

Strike a Balance

To keep your blood sugar stable, consider your treat as one part of a balanced meal or snack. When you eat sugary foods alongside (or shortly after eating) a mixture of foods rich in protein, fat, and fibrous carbohydrates, the non-sugary food will help stabilize blood-sugar levels, preventing an energy crash later. You’ll also experience a greater degree of fullness alongside satisfaction. Try pairing your favorite holiday cookie with a turkey-and-avocado sandwich, sliced veggies, and fruit, or sprinkling your yogurt with crushed candy cane, granola, and chopped nuts.

Reconsider the Novelty

It’s often presumed that your favorite holiday treats only come around once a year, creating a sense of urgency: “If I don’t eat it now, when will I get the chance again?” But the truth is most of these sweets can be enjoyed on any regular day, whether you’re sampling leftovers in the New Year or re-creating­ your favorite recipe in the spring. Reconsi­dering the supposed novelty of these foods also sets you up to practice mindful-eating techniques, like powering down your screens and focus­ing on the flavors and aromas of your treat.

The post How to Incorporate Seasonal Sweet Treats Into Your Diet in a Way That Feels Good appeared first on Dance Magazine.

Pumpkin, in its various forms, provides a versatile canvas for creativity in the kitchen. Canned pumpkin purée, a pantry staple, can be easily incorporated into soups and pies, and frozen pumpkin can be added to oatmeal and pancakes. When fresh pumpkin is roasted, its caramelized edges and tender interior add a delectable dimension to salads, pastas, or a standalone side dish. Don’t overlook the seeds; toasted pumpkin seeds make a crunchy, nutritious snack or a flavorful salad topper.

Boosting Micronutrients and Immunity

Pumpkin’s high vitamin A content supports healthy skin and eyesight, while vitamin C supports the production of collagen, a building block for strong joints and tendons. These vitamins also fortify the immune system, which is particularly important as cold and flu season approaches.

Meal plan addition: Add chunks of frozen pumpkin to a smoothie. Blend with yogurt, fruit, and a touch of honey for a nutritious pre- or post-workout recovery snack.

Stabilizing Energy

Pumpkin is rich in fiber, a nutrient that supports digestive regularity and helps maintain a feeling of fullness between meals and snacks. Including a fiber-rich ingredient like pumpkin­ into meals and snacks can help stabilize energy during class and rehearsals.

Meal plan addition: Add roasted pumpkin seeds to trail mix. Pumpkin seeds are also rich in zinc, a nutrient that supports immunity and wound healing. For dancers with allergies to nuts, pumpkin seeds are a nutrient-dense alternative that can be mixed with dried fruit and pretzels.

Preventing Injury

For dancers, the risk of fatigue and potential injury skyrockets if rigorous physical activity isn’t complemented with nutrition that supports muscle recovery, energy preservation, and bone health. Pumpkin is particularly rich in potassium, a mineral that helps in maintaining optimal muscle function. Additionally, the presence of magnesium and calcium supports healthy bones.

Meal plan addition: Use pumpkin as a base for a soup: Prepare a hearty pumpkin soup by puréeing it with vegetable broth, olive oil, onions, garlic, salt, and pepper.­ Paired with a sandwich, it’s an ideal autumn meal that’s equally nourishing and comforting.

Reducing Inflammation

The antioxidants found in pumpkin, such as beta-carotene and vitamin E, offer potent anti-inflammatory properties that can help in the overall well-being of a dancer’s muscle and joints.

Meal plan addition: Add puréed pumpkin to a muffin recipe or as a seasonal swap for summer’s zucchini bread.

The post Why and How to Incorporate Pumpkin Into Your Autumn Meal Plans appeared first on Dance Magazine.

The Panel

• Gayanne Grossman: Physical therapist, adjunct faculty at the Peabody Institute of The Johns Hopkins University and Muhlenberg College, and author of Dance Science: Anatomy, Movement Analysis, Conditioning
• Edwaard Liang: Artistic director of BalletMet and The Washington Ballet
• Jennifer Milner: Dallas-based ballet teacher, coach, and Pilates instructor
• Dr. Jeff Russell: Associate professor of athletic training and researcher at Ohio University’s Clinic for Science and Health in Artistic Performance

On the Perfect Floor

Consistency is key when it comes to safety with flooring. According to Russell, a dancer’s body will be best conditioned to the floor they are used to practicing on. “So many overuse injuries come from a change in the parameter [of the floor],” he said.

One of the primary concerns the panel shared was that the floor dancers rehearse and train on should, ideally, be the same as the floor that they perform on. The change in flooring for performance can be especially challenging on the physical well-being of dancers who are touring frequently and are met with a new surface to dance on in each city.

Overall, reducing force is good for the physical safety of dancers, so a sprung floor can help to decrease the chance of injury. But the right amount of spring in the floor is a science—more is not necessarily better. Liang recalled the many iterations of flooring he experienced during his time dancing with New York City Ballet, and how some floors were too sprung, resulting in injuries such as shin splints or metatarsal breaks. More recently at BalletMet, he shared how the company spent time trying to understand the type of cushion and spring that would best benefit their dancers. “It’s a recipe that is really important.”

On Creating Trust and Efficiency in Medical Care

Medical professionals working with dancers are aware that their clients bring their lived experiences with them. That may include interactions with medical professionals who don’t understand dance and the demands of the art form. It may also include a fear of acknowledging their injury and the severity of it. Russell expressed the need to create safe places for dancers so that they will have willingness to disclose injury without fear of retribution.

Grossman added that communication between dance leadership and medical staff is imperative. “Plan in advance for what you’re going to be doing,” she advised. If you have the benefit of having medical staff as part of your company or school, the medical team can strategize how to best care for dancers through particularly strenuous times and help with injury prevention.

On Preparing for Safe Performances

Milner pointed out that dancers are typically overworked in the studio but undertrained in strength and conditioning that would benefit their performance. “What do we need to add and what do we need to take away?” she asked. When ramping up to perform, dancers tend to get less time for rest and recovery.

Liang echoed these concerns, mentioning that dancers’ workloads typically double during tech week. He tries to support them by aiming to rehearse in shorter blocks of time and scheduling costume runs prior to tech week, so there is one less factor they must adapt to when things are ramping up.

On the Importance of Supporting Mental Health for Physical Performance

“One of the themes that runs throughout my work with dancers is trying to give them autonomy,” said Milner, who gave the example of artists being able to communicate the need to mark a lift during rehearsal instead of running the choreography again full-out—a practice which would decrease injury. She would love to see a world where dancers are given more of the autonomy provided to professionals in other spheres.

In dance training, oftentimes artists are not taught how to communicate. “Until dancers have autonomy to really speak their minds,” said Liang, “they are not going to be versed in how to grow as an adult and communicate.”

The experience of being injured can also have dramatic effects on the mental health of dancers. “When I got injured, I felt like a broken bird,” recalled Liang. “It’s not even about a job; it’s about personal identity, that right now I’m not ‘me.’ ”

On Changing the Culture Around Injury in Dance

Grossman pointed out that the arts are massively underfunded, especially in the U.S. “Dancers don’t want to give up these slots because they’re incredibly hard to get,” she said. And that can include admitting to being injured. “Injuries have to be taken care of properly so that they can get better faster.” And while Grossman sees the culture of stigma around injuries improving, there is still a long way to go.

For Russell, changing the culture means a deeper investment in dancer well-being on the part of artistic leadership and the medical professionals who support them. “You have to, on a daily basis, demonstrate that you care about the dancers,” he said, noting that a culture of empathy and compassion can’t be developed in a one-time company meeting.

“It’s a huge responsibility when you have dancers that are game for everything and anything,” said Liang. “You have to balance that in how you serve them and how you serve their mind and body.”

As a longtime partner and major patron of IADMS, Harlequin Floors continues to prioritize safety for dancers of all genres. A global leader in advanced flooring technologies, Harlequin works closely with the dance community and industry to research and develop a variety of world-class floors for training and performance. Click here for more information on choosing the right floor for your specific dance needs.

The post Experts Speak Out on Improving Dancer Safety at IADMS’ Conference appeared first on Dance Magazine.

“I have a sweet tooth, for sure,” says Dawn Atkins. The recently promoted Miami City Ballet principal searched for a snack to bring to work each day, but struggled to find something that gave her the sugar fix she was craving—and was healthy. “All those protein bars and things were so processed I couldn’t even pronounce half of the ingredients in them, and I didn’t feel great about that,” she says. Atkins started experimenting, and came up with her protein ball recipe. “I’m getting protein not only from the nut butter but from the hemp seed, flaxseed, and oats,” she says. “They give me some beneficial nutrients for the day.”

Atkins’ protein balls are indicative of her greater commitment to eating whole foods. “I’m really mindful of every ingredient,” says Atkins. “I definitely think it’s helped my energy­ levels while I’m dancing.” Atkins and her husband generally cook dinner together while listening to jazz music, using it as an opportunity to connect after long days at work. But even off the stage, Atkins isn’t without an audience: Her two dogs, Chappie and Duke, keep a watchful eye in the kitchen, eagerly waiting for any scraps to fall on the floor.

Meal Kit Maven

Atkins and her husband are subscribers to Purple Carrot, a plant-based meal kit system. “We’re not vegetarians, but I like the aspect of getting a lot of plant-based protein,” says Atkins. “Everything comes pre-portioned, which also creates less waste. We’ve really grown to love it.” Their recent favorite? “Any dish with mafaldine pasta.”

Ingredients

• 1/4 cup rolled oats
• 1/2 cup smooth peanut butter (You can swap out for almond butter or another nut butter, depending on your preference.)
• 1/4 cup maple syrup (“You can always reduce this if you want less sugar,” says Atkins.)
• 1 ripe banana, mashed
• 1/4 cup coconut flour
• 3 tbsp flaxseed meal
• 1/4 cup cacao nibs
• pinch of Himalayan salt
• 2 tbsp hemp seeds
• 3 tbsp unsweetened shredded coconut

Instructions

1. Add the oats, peanut butter, maple syrup, mashed banana, coconut flour, flaxseed meal, cacao nibs, and salt to a large bowl and mix with a wooden spoon to combine. Use the back of the spoon to work in the cacao nibs.
2. Use your hands to roll the dough into approximately 1-inch balls.
3. On a plate, mix together the hemp seeds and shredded coconut. Roll each ball in the mixture until fully coated.
4. Place the balls on a plate and refrigerate for 1 hour before serving. Leftovers can be stored in an airtight container in the refrigerator.

The post Miami City Ballet’s Dawn Atkins Shares Her Recipe for Sweet Coconut Protein Balls appeared first on Dance Magazine.

At first, she tried to hide the fact that she was in recovery at her new company. After she was cast as Gulnara in Le Corsaire, Oshima decided to tell Bocca the truth. “He was super-kind and understanding,” she remembers. “He said, ‘Please take your time, we have physio, and take it easy.’ ”

Although Oshima began to heal, she says she pushed herself too hard in rehearsals and performances—and ultimately the fracture grew. In the end, her injury forced her into an early retirement. Although she found a way to channel her passion for ballet into her current career as a physical therapist specializing in treating dancers, she still struggles with the emotional pain of leaving her performing days behind. “My soul is still recovering,” Oshima says. “By helping other patients­ and dancers, I also keep healing myself.”

The Emotional Impact of Injury

In addition to the physical pain that comes with an injury, the recovery can be emotionally taxing. “There can be clinical depression that sets in, or mood changes—very sad, very uncomfortable, feeling frustrated, maybe feeling angry,” says Lynda Mainwaring, a Toronto-based sports psychologist who has studied the mental impact of physical injuries on dancers. Suffering in silence can exacerbate the challenges of an injury: Not only can it hinder a dancer’s capacity to give their body the care, rest, and rehabilitation it needs, but it also potentially limits their ability to seek mental health support.

A significant or chronic injury can also trigger a profound sense of identity loss for dancers, as the pain of a physical setback also jeopardizes their main creative outlet. “I once had a dancer ask me, ‘Who am I, now that I’m not a dancer?’ ” Mainwaring says.

Getting Help

Dancers suffering from an injury should consider emotional recovery as well as physical recovery and, if experiencing mental health challenges, seek professional help. According to Mainwaring, finding someone to confide in is key, particularly a psychologist or psychiatrist who has experience working with dancers.

For those who haven’t worked with a mental health professional, Mainwaring recommends starting by opening up to another member of the care team, like a physical therapist, who might be able to recommend specific help. “If you’re going to your physiotherapist, talk to them,” she says. “They are not trained in counseling and will refer out, but they are very good to speak to because they can help with coping skills, and are someone who understands.” Mainwaring acknowledges that the financial commitment of therapy might be a stretch for some dancers so suggests a support group of performers in similar situations as an alternative option.

Developing Additional Skills

In addition to collaborating with a care team to facilitate recovery, dancers can equip themselves with personal coping skills. Mainwaring emphasizes the importance of maintaining a routine, even if recovery involves a hiatus from rehearsals and performances. Engaging in safe physical activities and prioritizing a nourishing diet are pivotal. Additionally, mindfulness can also be a valuable skill to cultivate. “Mindfulness and relaxation are very, very helpful to quell that anxiety and also to provide a little bit of space and perspective on what’s going on,” Mainwaring explains.

In the face of a potential career-ending injury, seeking out resources designed specifically for dancers considering the next professional phase can prove invaluable. Career Transition For Dancers, offered through the Entertainment Community Fund, helps dancers adjust to life after a performance career through individual counseling, scholarships, and educational panels. Oshima recommends focusing on fostering a new skill or interest, whether it be dance-adjacent or completely unrelated.­ “If you want to learn anatomy, that would be great,” she says. “It doesn’t have to be related to ballet—if you want to learn new languages, that’s really good too.”

The post How Physical Injuries Can Impact Mental Health appeared first on Dance Magazine.

Although Peralta is in love with Andalusian culture, her own roots are Afro-Dominican. She’s “Dominican­-ized” her salmorejo by adding avocado (Peralta is largely vegetarian) and pairing it with maduros fritos—fried ripe plantains. “I always add my own Dominican take to every recipe,” she says. Usually this is in the way of spices, particularly adobo seasoning. “Sometimes I’ll call up my relatives to describe­ a recipe for any Dominican dish,” says Peralta,­ who likes making mangú tres golpes (a traditional Dominican breakfast) and a vegetarian take on pastelón de plátano maduro (a layered plantain dish). “It’s never very exact, but what I crave is very attached to my mood,” she says. “And it’s a nice way to connect to home.

Podcast Pro

“I can’t live without a podcast playing in my ear,” says Peralta of her cooking habits. “It helps calm me down.” Peralta usually seeks out anything that’s on National Public Radio. “I like listening to the Brian Lehrer Show every single day,” she says. “If I don’t catch it on time, I’ll just listen to it while I’m in the kitchen.”

“Cooking Equals Mess”

Peralta is a self-proclaimed neat freak and usually seeks out recipes that don’t make much of a mess. “I like salmorejo because it just uses a blender,” she says. “I tend to make a lot of salads, a lot of soups, things I can do in one pot or pan. I’m very practical.”

Ingredients

“The measurements are approximate, or, as we say at home, ‘ojo por ciento’ (eyeball percent),” says Peralta, who encourages cooks to taste and adjust as they go.

• 1.5 kilos (about 3 lbs) whole ripe tomatoes, stems removed­ (“I often use organic tomatoes on the vine for flavor, or heirloom tomatoes from my mom’s garden,” says Peralta.)
• 2 tsps salt
• 1 tbsp sherry vinegar (You can substitute this for a mixture of white, apple cider, or white wine vinegars.)
• 200 grams stale bread (Peralta likes to use a combination of Italian bread and sourdough. If your bread is fresh, you can toast it very slowly to dry it out, but avoid any browning or crunchiness.)
• 1/2 cup high-quality extra-virgin olive oil

Optional Add-Ins

• ripe avocado, cubed
• hardboiled eggs, crumbled
• Iberian ham, cubed (“If you can’t find Ibérico ham, you can use prosciutto cubes from any Italian market,” says Peralta.)
• drizzle of high-quality extra-virgin olive oil

Instructions

1. Add the whole tomatoes to a high-powered blender or food processor and blend at high speed until they become a smooth, but still thick, purée.
2. Add half of the salt and half of the vinegar and blend to mix.
3. Tear the bread into small chunks and slowly push them into the tomato mixture with a long, wooden spoon. Let sit for 15 minutes.
4. Once the bread is saturated, blend again at high speed until the mixture is smooth and creamy.
5. Switch the blender to its lowest setting and, whil it’s running very slowly, stream in the olive oil to allow it to emulsify. The color should become a creamy reddish orange, not too vibrant.
6. Once smooth, add the remaining vinegar and salt and mix again. If the salmorejo is too thick, you can add water to thin it out.
7. Pour the salmorejo into a covered pitcher or jug, and refrigerate until completely cold, preferably overnight. (“I like to make a big batch and have it throughout the week,” says Peralta.)
8. When you’re ready to eat it, pour the salmorejo into a bowl and garnish with crumbled boiled egg, cubed avocado or ham, and a drizzle of EVOO. Enjoy with a side of maduros fritos (fried ripe plantains). Leftovers can be used as a spread on bread when making a sandwich.
   

The post Flamenco Vivo’s Laura Peralta Shares Her Andalusian Salmorejo With a Dominican Flair appeared first on Dance Magazine.

Many dancers struggle to keep up with their iron needs, however. Research suggests that when compared to the general population, dancers are at a higher risk for low iron stores—a likely culprit being restrictive eating patterns. This can be a result of either restrictive dieting or a busy schedule that makes it challenging to eat enough throughout the day. This, combined with the high-impact, physical demands of dance and resulting strain on the body, as well blood loss from menstruation, contributes to an increased risk for iron deficiency in dancers—and a need for consistent iron replenishment.

Iron’s Impact

Overwhelming fatigue is a common symptom when iron runs low, along with anemia—a condition known to severely impair performance. Iron is a key component in the makeup of two bodily proteins. Hemoglobin, the protein in red blood cells, is responsible for carrying oxygen to all tissues. Myoglobin, the primary protein within muscle tissue, stores oxygen for aerobic use. A steady supply of oxygen is essential to ward off fatigue while dancing.

While you should check with your doctor about the feasibility of iron supplements if you’re at risk for deficiency, dancers should also aim to incorporate a variety of the following iron-rich foods into their meal plan.

• Meats like chicken, turkey, and beef are rich in heme iron, which is easily absorbed and utilized by the body.
• Leafy greens like spinach, kale, and Swiss chard are excellent sources of non-heme iron (found in plants). Although non-heme iron is less efficiently utilized by the body, incorporating an abundance of these foods can help to boost a dancer’s overall intake.
• Beans and lentils are also rich in iron. Add chickpeas to a salad, hummus to a snack, or lentil soup to dinner for a combination of iron, fiber, and protein.
• Nuts and seeds help to add iron to meals and snacks. Toss almonds or cashews into a trail mix, or add pumpkin seeds atop a salad.
• Fortified foods like breakfast cereals and granola bars can be an easy and convenient way to increase a dancer’s intake of iron.

Iron-Clad Results

There are a few additional ways that dancers can augment their iron intake. Cooking in cast-iron pans slightly increases the iron content of meals. Adding vitamin C–rich foods (like tomatoes and citrus fruits) to meals containing non-heme (plant-based) sources of iron helps to enhance absorption. And dancers taking calcium supplements should take them at a different time than when eating iron-rich foods as they can inhibit absorption.

By including a variety of iron-rich foods into their diets and considering how to leverage those choices in a way that best supports performance, dancers can actively work to support the longevity of their careers.

The post Iron—Why It’s Important and How to Incorporate It Into Your Diet appeared first on Dance Magazine.

Migraines affect more than a billion people worldwide. Despite their prevalence, migraines can be unpredictable and debilitating, and can present unique challenges, particularly for dancers.

How Migraines Affect Dancers

More than just a headache, migraine is a neurologic disorder that causes a variety of symptoms. The headache typically associated with migraine involves moderate to severe throbbing or pulsating pain, often concentrated on one side of the head, that can last from several hours to several days. A migraine might also cause visual disturbances (called auras), nausea or vomiting, sensory sensitivity, mood changes, and fatigue.

While the cause of migraines varies from person to person and often isn’t clear, both genetics and environment can play a role. Migraines, which are especially prevalent in women, can be triggered by stress, hormonal shifts, certain foods and alcohol, weather changes, sleep patterns, and/or other factors, or can be seemingly spontaneous.

Because movement can exacerbate migraine pain, the condition presents a particular challenge for dancers. “One hallmark of migraines is that pain gets worse as you increase even routine activities like going up and down stairs,” explains Giovanna Salerno, PT, DPT, a physical therapist at NYU Langone’s Harkness Center for Dance Injuries.

The often unpredictable and chronic nature of this condition can also be challenging for performers managing an inflexible schedule of performances, rehearsals, and classes. “When someone has a show or recital, not knowing when or if they’re going to have a migraine can be incredibly anxiety-provoking,” says Danielle Wilhour, a neurologist at UCHealth University of Colorado Hospital.

Treatment and Coping

The treatment for a migraine is as multifaceted as the condition itself. Rest and the use of heat or cold to ease pain are among the more conservative, says Wilhour, in addition to relaxation techniques. Many migraine sufferers use over-the-counter pain relievers such as ibuprofen, Tylenol, or Excedrin. For chronic sufferers, a variety of prescription medications and treatments designed to stop and/or to prevent migraine can greatly improve quality of life. A neurologist can make specific treatment recommendations based on a patient’s unique experience.

Salerno recommends keeping a journal of migraine symptoms as a way to recognize both triggers and warning signs. “Sometimes [you have to look at] the bigger picture of what is best in terms of prolonging your career and helping you deal with this in a more manageable, long-term way,” she says.

It can also be helpful to develop a plan for care before a migraine hits, Wilhour says. “I’ll actually recommend pretreatment, such as taking medicine before a big event, to help make sure that you don’t have an episode during it,” she explains. It’s also important to prioritize a healthy diet and sufficient rest—Wilhour suggests that taking a short break to rest when a migraine is coming on can have a big impact.

Both Barbará Farias and fellow migraine sufferer Nova Bhattacharya, artistic director of Toronto-based company Nova Dance, have developed additional supportive self-care strategies. Bhattacharya finds that certain scents, like the smell of green apples, help ease her symptoms. Since tight hairstyles can exacerbate pain, Barbará Farias wears her hair loose on migraine days and avoids leotards or other clothing that ties around the neck. Both dancers add that explaining migraines to their colleagues allows them to more freely make adjustments based on their needs.

Making Space for Dance

Although movement can aggravate migraine pain during an episode, physical activity has also been shown to be a helpful preventive measure. Barbará Farias has found that, even during a migraine, certain types of movements can feel therapeutic. If she is dancing on a migraine day, she focuses on gentle movements of the shoulders, arms, and neck, which she says help release tension that might be exacerbating pain.

Bhattacharya turned her migraine experience into creative fodder for her 2017 work Infinite Storms, which explores wider themes of pain, body–mind connection, and the human experience. “I mapped out the piece the same way one maps out the stages of a migraine,” she says, explaining that she used descriptive words to prompt dancers, without speaking to them directly about migraine. “By abstracting those ideas and then getting the movement happening, it gave me the materials to create the images and to make a piece that was inspired by migraines but not about them, and served as a metaphor for many other things.”

The post A Dancer’s Guide to Managing Migraines appeared first on Dance Magazine.

While cooking from scratch is often touted as the ideal approach to healthy eating, it’s not always feasible for dancers during busy rehearsal and performance periods. Elaborate home-cooked meals are also not the be-all and end-all of nutritious eating. Particularly when time is scarce, turning to nutritious snacks and relying on packaged and frozen foods can be part of a healthy eating plan, offering convenience without sacrificing nutrition.

Start With a Snack

When exhausted, your body and brain are (literally) hungry for a boost in glucose—a source of energy derived from foods rich in carbohydrates. Rather than waiting for your next meal to replenish energy stores, opt for a nutrient-packed snack. Those that are easily digestible provide the most reliable and quickest boost in energy. Fresh or dried fruit, a handful of pretzels or crackers, fruit smoothies, or granola bars offer carb-rich and energizing options.

Get Comfortable With Convenience

Relying on frozen meals or meal kits can be a great solution when you don’t have the time or energy to cook. Look for those made with whole grains and a variety of produce to help boost the overall nutrient density of your meal. A mix of ingredients rich in proteins and carbohydrates will also promote muscle recovery and energy replenishment, respectively. For example, precooked proteins like chicken strips and tofu bites can be paired with instant-rice or grain mixtures. Amplify the dish with a serving of cooked frozen veggies to boost your meal’s vitamin and mineral content and provide a dose of fiber for fullness. Stocking a handful of staples like olive oil, canned beans, nuts, and seeds offers a source of easy additions to incorporate into a variety of easy-to-prepare dishes.

Focus on the Long Term

The stress of feeling less in control over what is accessible for meals and snacks can leave dancers struggling with their relationship with food. This is especially true during performance seasons, which tend to be more physically demanding. It’s important to remember, however, that patterns over time matter more than temporary occurrences.
Ultimately, nourishing your body with what is accessible is the priority. Incorporating convenient and nutrient-boosting­ mealtime additions will not only support your performance efforts but also help to conserve your energy and focus on dancing.

The Nutrition Facts Label

Dancers often consider the nutrition facts of their meals and snacks with a goal of supporting a stronger performance. Contrary to popular suggestions to avoid processed foods, dancers can implement a few strategies for choosing nutrient-dense options while sifting through the packaged food aisle.

1. Look at the big picture: Rather than focusing on specific numbers or percentages, peek at the ingredients and aim for a variety of whole foods, like fruits, veggies, nuts, and whole grains. These will ensure a spectrum of nutrients, including vitamins, minerals, protein, and fiber.
2. Don’t get hung up on serving sizes. Remember that these are general guidelines, and your individual needs may vary depending on personal hunger and satiety cues.
3. Skip the stress about additives. These are often added in minuscule amounts to ensure food quality and safety. Plus, the stress over these ingredients is likely to be unhealthier than the supposed implications of the ingredients themselves.

The post Mealtime Strategies for Your Busiest Dance Days appeared first on Dance Magazine.

This improvisational approach­ to cooking reflects Trainor’s process in the studio. “I’m not interested in creating the same thing twice,” she says. “If we’re really in a genuine creative process there’s always risk of failure. There’s something very soul-satisfying about the low-stakes creativity of the kitchen.” Trainor also appreciates the sensory elements of cooking; rather than following recipes or instructions, she relies on smell and feel. “There’s something about food and dance that feels like the heart of life in the sense that it’s all changing and moving,” says Trainor. “Food and dance nourish us in this way that doesn’t last forever.” And does the now-6-year-old Evangelina still like Trainor’s banana bread? “Absolutely. She’s in it for the chocolate chips.”

Microplane Maven

Trainor’s go-to kitchen tool is her Microplane. “That thing was $7, and I always gift it to people,” she says. It comes in most handy when adding fresh nutmeg (like in her banana­ bread), ginger, or citrus­ zest. “It’s so low-effort, and just transforms a dish so easily,” Trainor adds.

Ingredients

• 3 eggs, beaten
• 1 1/2 tsps vanilla
• 1 to 2 tbsps maple syrup
• 1/2 tsp cinnamon
• 1/3 tsp fresh nutmeg, grated on a Microplane (“The spice adds a surprising dimension to the bread. Ground nutmeg also works, but will be more subtle.”)
• pinch of cloves
• 1/2 tsp salt
• 3/4 cup melted butter or coconut oil (separate 1 tbsp to oil the pan)
• juice from 1/2 lemon or a splash of apple cider vinegar
• 3 ripe or overripe bananas, mashed
• 1 tsp baking powder
• 2 1/2 cups flour (white flour or at least 1 cup of 1-to-1 gluten-free flour mixed with coconut flour, almond flour, or quick oats)
  Optional Add-Ins
• 1/2 heaping cup walnuts or pecans
• 1/3 cup flaked coconut, unsweetened or sweetened
• 2/3 cup chocolate chips, unsweetened, semisweet, or bittersweet

Instructions

1. Preheat the oven to 300°F. If using nuts, crumble them into a cast-iron frying pan (you can substitute with a glass pie plate) and toast them in the oven for 15 minutes or until fragrant. Remove the nuts to cool, and turn the oven temperature up to 350°F.
2. Add the beaten eggs, vanilla, maple syrup, cinnamon, nutmeg, cloves, salt, butter or coconut oil, lemon or apple cider vinegar, and mashed banana to a large bowl and mix with a large spoon to combine.
3. Put 1 tbsp of butter or coconut oil in the pan and pop it in the oven to heat up till sizzling slightly, about 4 to 5 minutes. This adds a nice buttery crust to the bread base.
4. Meanwhile, add the baking powder and flour to the wet ingredients and mix. Don’t overmix; just a few turns of the spoon should be enough to prevent gumminess. The batter should be thicker than pancake dough but looser than cookie dough. A few white patches of flour might remain.
5. Fold in any optional add-ins.
6. Pour the batter into the buttered pan and put it in the oven. Start checking for doneness at around 23 minutes by tapping the top of the bread. It should be firm but not hard.
7. When the bread is done, remove from the oven and let it cool in the pan on a baking rack. Once it’s completely cool, cut in pieces to enjoy.

The post Choreographer Caitlin Trainor Shares Her Cast-Iron Banana Bread Recipe appeared first on Dance Magazine.

Milner is autistic, and her learning and communication styles are a few ways that her autism manifests in the studio. She’s also sensitive to sensory stimuli, like lighting quality and music volume, which she says can occasionally affect her ability to pick up choreography. Despite these challenges, Milner says that having autism gives her a unique viewpoint on the world—and dance.

What Is Autism?

Autism is a lifelong developmental condition that’s commonly associated with differences in social interactions, information processing, and sensory perceptions, says Dr. Irina Roncaglia, a psychologist who works with dancers and serves as the clinical lead at the National Autistic Society in the UK. These differences might present as the sensory sensitivity that Milner experiences, difficulty understanding metaphors or humor in conversation, or trouble identifying others’ emotions. Roncaglia emphasizes that autism is highly personal and can manifest differently depending on the individual. “When you meet one autistic individual, you have only met one autistic individual,” she says.

Autism in the Dance World

Depending on the person, dance can present unique oppor­tunities as well as distinctive challenges. James Hobley, currently an artist at Scottish Ballet, was diagnosed with autism at an early age and had difficulties walking and talking as a child. Dance lessons were introduced to help him achieve developmental goals, and Hobley says he took to the art form right away. “Dance was something that I needed,” Hobley says. “All of the things that I was doing just dramatically improved. And I became a lot more confident as a result of starting dancing.”

Milner has found choreography to be an important outlet and that she has a distinctive point of view as an artist, in part due to her neurodivergence. “Especially in choreography, it’s a unique asset,” she says. “I can’t speak for all autistic people, but at least for myself, choreography is such a vital form of communication and it’s such a universal language. When I choreograph, it’s to communicate—there’s such a purpose to it.”

Certain aspects of dance present difficulties to individuals with autism. Both Milner and Hobley say they’ve struggled, at times, with focus and learning choreography. For Hobley, this was especially true when he first started dancing. “My brain would be a little bit like a sieve—it would go in and then just completely straight back out,” he says, noting that—while he sometimes still finds it challenging to learn the dance steps—hard work and practice, as well as tools like annotating the choreography, have helped him develop this skill.

Milner, too, has compiled a set of strategies for facing challenges. When her external environment feels overwhelming, she grounds herself by focusing on her internal experience. “I usually find that if I start focusing on the actual movements that I’m doing and how they feel in my body, then eventually that’s all I’m thinking about and it ends up being a lot more relaxing than it is stressful,” she explains.

Creating Accepting Spaces

How can studio spaces become more inclusive of neurodivergent dancers? Jennifer Milner, Madeleine’s mother and a dance and Pilates instructor, says that it’s important to create space for individual needs. This can be as simple as respecting when dancers don’t feel comfortable being touched, or when they may be having what Milner calls a “red button day”—when stress, anxiety, or other stressors make corrections and critiques difficult to receive.

This respect should extend to an appreciation of different learning styles. “Having an ability to see different learning styles and allow them to happen—rather than a blanket ‘Everyone looks at me, everyone does this’ approach—is really important,” says Jennifer Milner. Roncaglia suggests that giving advance notice of scheduling changes and having patience while dancers process infor­mation at their own pace—and in their own way—can have a big impact. It’s also important to avoid making autistic dancers feel different or othered, adds Hobley, who explains that one of the most harmful things that can be done is “to single people out based on a category or a box they’re in. We’re all who we are.”

Resources

James Hobley, Dr. Irina Roncaglia, and Madeleine and Jennifer Milner recommend the following:

National Autistic Society (UK): Information about autism, plus a variety of resources for diagnosis, community-building, and services for autistic individuals. autism.org.uk
Minding the Gap: A dance-specific mental health resource for dance students, professionals, and teachers. wearemindingthegap.com
International Association for Dance Medicine & Science: Resources on a variety of dancer-health topics, plus information on finding a provider and access to the latest dance science research. iadms.org

The post Dance, Autism, and Creating Neurodivergent-Friendly Spaces appeared first on Dance Magazine.

Finding Brazilian baião de dois, a traditional rice-and-bean dish, too heavy to eat in the middle of long rehearsal days, Cardoso experimented until she settled on a lighter version with the same familiar flavor, replacing beans with split peas, and rice with quinoa. “One day I decided to cook them in the same pot to save time and so I wouldn’t have to wash two dishes, and it came out great,” she says. Cardoso has been vegetarian for the past four years; she likes to rotate in different vegetables, like Brussels sprouts and squash, and occasionally adds tofu for an extra dose of protein. “I make it every week and take it to work,” she says of her take on baião de dois, which she calls “baião para todos.”

Kitchen Playlist

Cardoso finds cooking relaxing. “It helps me to wind down from the day,” she says. “It’s me time.” Music helps to set her mood: “I like anything that calms me down. I love to listen to Brazilian music, like bossa nova.”

Going Vegetarian

Living in a city known for barbecue can be challenging as a vegetarian. But Cardoso works hard to make sure her diet includes enough protein to sustain her daily dance schedule. In addition to split peas, Cardoso loves cooking with lentils and chickpeas. For dinner, she often pairs a dish like her baião de dois with stir-fried tofu or tempeh.

Ingredients

• 2 tbsps olive oil
• 1 tsp ground cumin
• 1 tsp ground coriander
• 1 bay leaf
• 1 cup green split peas (can replace with red lentils if desired); 2 cups water
• 1/2 cup white quinoa, rinsed
• 2 carrots, peeled and sliced in rounds
• 1 zucchini, sliced down the middle lengthwise, then in half-circles
• 1/3 cup broccoli or cauliflower, chopped in medium-sized pieces
• 1 tbsp salt
• 2 tbsps canned tomato sauce (optional, adds extra flavor)

Instructions

1. In a medium high-walled pot, add the olive oil, cumin, coriander, and bay leaf, and heat over medium heat.
2. Add the split peas and 2 cups of water, cover the pot, and turn the heat up to high. Allow the peas to boil for 20–25 minutes, until they’re soft but not falling apart.
3. Add the quinoa, vegetables (carrots, zucchini, and broccoli or caulifl ower), and salt, and turn the heat down to medium low. If the mixture looks dry, add a bit more boiling water. Place the cover back on and allow to cook for about 15 minutes, or until everything is soft, checking occasionally. Add more salt to taste.
4. If using tomato sauce, stir it in now. Then turn the heat off and let the mixture sit, covered, for a few minutes.

The post Collage Dance Collective’s Luisa Cardoso Shares Her Vegetarian Baião de Dois appeared first on Dance Magazine.

During the creation process for Oh, I have to wash my hair, Hance asked the dancers to create gestures and movement phrases, which allowed Neimeyer and her choreographic partner to channel their personal experiences into the work. “It was the first piece where I got to contribute my own choreography,” Neimeyer remembers, adding, “That was a nice processing point for me.”

What Is Social Anxiety Disorder?

Social anxiety disorder, according to Terry Hyde, MA MBACP, a psychotherapist specializing in dancers’ mental health, pertains to anxiety triggered by social situations or interactions. When exposed to such situations, individuals with social anxiety might experience physical symptoms like sweating, heart palpitations, or shortness of breath.

Hyde notes that SAD is often rooted in past triggers or traumas, leading affected individuals to want to avoid social interactions. Those with SAD may also have fears of criticism, embarrassment, or being judged negatively. Says Neimeyer, “I think at the heart of it, we really are afraid of being disliked, completely cast out, or completely annihilated in some way—that’s our base fear.”

How Does SAD Affect Dancers?

Social situations, especially those that are new in some way, can present difficulties for someone with SAD, Hyde says, so attending a new class, joining a company, or attending an audition could be an extra challenge. “An open class, they probably wouldn’t go into,” he explains. “But if it was a college or company class, they may go into that because they’re familiar. It’s the lack of familiarity that causes this type of anxiety.”

Conversely, Neimeyer says dance has often been a positive outlet for her—and has presented many opportunities that have been difficult yet supportive of her SAD recovery. Not only has she found community and belonging at Frame, but she also has found the structure of the dance environment to be comforting. “Dance can be wonderful for people [with SAD] because we want to connect,” she says. “Having a vehicle so you know what is appropriate and you know what is the acceptable way to present and express yourself helps.”

Although she has made strides in dealing with SAD—and has found a safe place to dance at Frame—she says some aspects of being in a dance company, like partnering, can still present difficulties. “It’s still really hard,” she says. “I have to break through so many things to touch someone else’s fingertip.”

Moving Toward Recovery

According to Hyde, social anxiety can be treated with a variety of therapeutic modalities. Cognitive behavioral therapy (CBT), for instance, aims to modify unhelpful thought patterns, while psychotherapy delves into uncovering the root causes of the trigger. In certain cases, hypnotherapy can be effective. Hyde further suggests that medication can also be helpful for some individuals.

Dancers can use a range of coping skills to help assuage anxiety in the moment. Hyde recommends deep-breathing exercises (see below for two examples) and suggests establishing a set of affirmations that can be repeated in challenging times. “Affirmations are confirmations of how you want to feel,” he explains. Simple phrases like “I am safe” and “I am okay” work particularly well, he says.

Breathe In, Breathe Out

Deep breathing helps to slow the heart rate, making it easier to manage a stressful situation. Terry Hyde, MA MBACP, recommends these two exercises:

1. •Breathe in through your nose for four counts.
   •Hold your breath for four counts.
   •Breathe out through pursed lips for eight counts.
   •Repeat four times.
2. •Take one long breath in.
   •Follow the long breath with two quick, short inhales.
   •Exhale slowly for eight counts.

Resources

Anxiety & Depression Association of America: Learn about SAD and other topics surrounding anxiety and depression, connect with a mental health professional, find resources like webinars and mental health stories from peers at adaa.org.

Entertainment Community Fund: Connect with a mental health professional, find a support group, and get help with insurance coverage through this performing-arts–specific organization at entertainmentcommunity.org.

Counselling for Dancers: Founded by Terry Hyde, MA MBACP, counsellingfordancers.com (and corresponding Instagram account: @counsellingfordancers_official) provides dancers with resources like workshops, an Instagram live conversation series, and an app, Help4Dancers.

National Health Service (UK): Find information about SAD, support groups, and other resources at nhs.uk.

National Social Anxiety Center: Learn about SAD and treatment and find a provider near you at nationalsocialanxietycenter.com.

The post How Social Anxiety Disorder Can Impact Dancers appeared first on Dance Magazine.

Challenge the “Eat Less” Mindset

Be wary of assuming that the body needs less food when dancing less. Sure, your physical expenditure—the energy usually spent during a busy dance schedule—is lower. But your body still needs enough calories from food to function and heal. If you’re coming from a place of restrictive eating, you might notice more extreme signs of hunger, despite dancing less. A spike in your appetite isn’t something to feel concerned about. In fact, it can be recognized as a sign of your body’s need for nourishment.

Fueling Resilience

Typically, a dancer’s schedule is saturated with classes and rehearsals that dictate where and when it’s possible to eat. The ability to rely on appetite cues like hunger and fullness can get lost. During recovery, try to allow for a more loosely structured and flexible eating schedule, especially if you’re struggling to eat consistently throughout the day. Look for recipes that sound appealing and incorporate three macronutrients—carbohydrates, protein, and fat. Prioritizing these components will boost the nutrient profile of your meals and can help you feel satiated.

Allow Food to Pave a New Purpose

Developing a healthy relationship with food is central to maintaining your mental and emotional well-being. Take advantage of having more free time by spending it in the kitchen experimenting with recipes, trying new flavors, and slowing down to appreciate what you’ve created. Sitting down for a meal, perhaps with friends and family, is a more attainable goal when your schedule isn’t packed. Set aside the screens and tune in to the tastes, flavors, textures, and aromas of your meal.

Focus on Function

The nutrients of recovery

Food can be a valuable tool in injury recovery. Consider these quick tips when you’re constructing meals and snacks for recovery. 

1. A meal rich in fibrous complex carbohydrates helps to offset any digestive discomfort that you might experience while dancing less. Try adding whole grains like rice, quinoa, or whole-grain bread to meals. A side dish of roasted vegetables or a handful of roasted chickpeas are additional ideas. 
2. High-protein foods like meat, poultry, fish, yogurt, cheese, milk, and eggs are known to support muscle repair and, when incorporated into an otherwise balanced meal, help to sustain energy and fullness. For plant-based eating, a variety of protein-rich foods like legumes, grains, veggies, and fruit can provide the essential nutrients needed for tissue recovery. 
3. While some degree of inflammation is a natural part of the healing process, excessive amounts can delay it. Foods rich in omega-3 fatty acids are known for their anti-inflammatory properties. These unsaturated fats can be found in fatty fish like salmon and tuna, along with nuts, plant oils, chia, avocado, and flax. Try topping toast with avocado and sprinkling flax into a smoothie. 
4. Colorful fruits and vegetables will also boost your intake of key vitamins, minerals, and antioxidants to support the healing process. Toss a handful of spinach into your next smoothie for a nutrient boost. 

The post A Dancer’s Guide to Healthy Eating While Healing appeared first on Dance Magazine.

What Is Food Inflexibility?

Before considering the impact of food flexibility on dancing, let’s uncover what it means to be inflexible at mealtimes. Food inflexibility encompasses rigid and sometimes all-or-nothing thinking. When you’re inflexible around food, it’s challenging to adapt to the food options that are accessible. This can lead to obsessing over food, along with feelings of stress and worry about what foods are (and are not) acceptable to you.

Why Food Flexibility Matters

Food inflexibility makes it hard for dancers to fuel their bodies and feel confident in their food choices. If you’re attempt­ing to abide by a regimented diet, you may miss out on social experiences, like eating out with friends or just grabbing a bite spontaneously. Cultivating food flexibility can offer a sense of ease within an ever-changing or unpredictable schedule, whether it’s a period of hectic rehearsals with little time to meal-prep or a company tour to an unfamiliar place. Ultimately, food flexibility offers opportunities both for nourishment and for the broadening of life experience—the same experiences that can support artistic growth onstage. To harness these benefits, here are three strategies to consider.

Evaluate Current Eating Patterns

It’s important for dancers to recognize if inflexible eating behaviors exist. As a first step, identify red flags, such as obsessing over ingredients, avoiding entire food groups or macronutrients, tracking calories, and feeling guilty about eating certain foods. Since dieting is often normalized in the studio, dancers should raise a critical eye to behaviors that feel rigid, unsupportive, and downright limiting. Do you avoid events that involve food? Think about mealtimes: Do you have feelings of stress, guilt, or anxiety around food? If you’re answering yes to any of these questions, then you’re ready to intervene to increase your flexibility at mealtimes.

Challenge Restrictive Food Rules

Challenging your food inflexibilities might feel uncomfortable, especially when eating foods that you or someone else has previously deemed off-limits. Shifting your internal narrative to proactively neutralize thoughts is a starting point. Instead of viewing food as “good” or “bad,” consider how the food is impacting you from a physical, mental, and emotional perspective. Does it leave you feeling energized? Is the avoidance causing you to ruminate about that food? The fear of overdoing it also poses limitations for many dancers, but mindful eating techniques can help dancers identify intuitive cues of fullness and satisfaction.

Seek the Right Support

Increasing your flexibility at mealtimes is not a simple task—this is especially true for dancers who have a history of restrictive eating patterns. Working alongside a licensed professional, such as a registered dietitian nutritionist, can help. Dietitians are uniquely equipped to guide dancers through the process of unraveling nutrition misinformation and increasing exposures to a wider range of food choices.

Food flexibility is something that all dancers should consider. Though it can be easy to focus solely on the physical attributes of food—such as nutrition and energy density—and how these characteristics impact performance, it’s important to remember how life experiences, like sharing a meal out with friends, contribute to our well-being. Challenging inflexible eating patterns will help to strengthen your overall relationship with food, allowing you to prioritize consistent nourishment without the added mealtime stress.

The post Why Cultivating Food Flexibility is Crucial for Your Health appeared first on Dance Magazine.

Prioritize Rest

Dancers are notoriously bad at taking time off, but according to Patti Cavaleri, a physical therapist at NYU Langone Health’s Harkness Center for Dance Injuries, dancers should be taking at least one or two days off per week and a few weeks off per year. “Your body needs time to recover from the high demands of dance,” she says. “On long rehearsal days you tax your system. After that, your body needs time to rebuild the muscle cells that have been challenged, as well as get more oxygen flowing throughout your body to get rid of soreness. If you don’t, your body will continue to become more fatigued, and it is in that state that you’re more likely to be injured.”

Dirk Hartog, a physical therapist at Westside Dance Physical Therapy, thinks dancers can take the concept of rest even one step further. “Most sports have a preseason, season, postseason, and offseason structure,” he says. “This schedule not only gives athletes time off, but time to prepare and protect their body for upcoming seasons through conditioning. Dance doesn’t have this natural cycle, but if you yourself can schedule in phases of ramping up to full activity and cooling down to rest, it will be helpful.”

Work With Experts

The proper care of the body requires the support of trained medical professionals. If dancers have easy access to a physical therapist onsite at their school or company, they should visit them immediately when experiencing pain. When this isn’t feasible, New York–based physical therapist Heidi Green advises that dancers “should initially be using every tool in their toolbox to address that symptom,” noting rest, ice, heat, NSAIDs, if necessary, and modification of movement. If you’re still experiencing pain within one to two weeks maximum, seek help from a doctor and/or physical therapist. “The sooner you get help, the easier it will be to fix any problem you may have,” she says.

Consider seeing a professional before injuries arise: The Harkness Center, for example, offers injury-prevention assessments for healthy dancers. “You can come in for an hour-long assessment in which we look at your strengths and weaknesses, and give you proactive exercises to target your needs,” Cavaleri says. “If we stay on top of things, we can limit things like back pain, sprained ankles, and other injuries.” Accor­ding to Hartog, getting to know your body through the support of an expert is the ultimate secret to caring for your body and potentially reducing the risk of injury. “It’s often the silver lining to getting injured,” he says. “Come in before that happens, and you’ll set yourself up for success.”

Be a Dancer in the Studio and a Human Everywhere Else

While it can be tempting to continue working on “technique” in everyday life (for instance, sitting in the splits while watching TV or walking in a turned-out position on the street), it isn’t a helpful habit. “Turn it off,” says Green. “Living your daily life in parallel won’t ruin your career. In fact, it will protect your muscles from injuries caused by overuse and repetitive stress.” Instead, focus on doing your daily tasks with proper alignment and mechanics. For example, make sure your knees are tracking correctly when climbing stairs, or that you have correct form when you bend down to lift that heavy grocery bag. “Know that a thoughtful approach will ultimately benefit your dancing and your long-term health,” Green says.

Cross-Train

Dance training alone often doesn’t satisfy all the body’s physical needs for strength and stamina, so be sure to carve out some time for cross-training. “Performers should have two to four days per week of strength training and 150 minutes per week of moderate aerobic activity just like everyone else,” Cavaleri says. “Your dance training can count toward that amount if it’s particularly challenging.” Some cross-training ideas include low-impact exercise, like Pilates, or cardio options, like bike riding and walking. “Most of my patients find that when they add cardio to their routine, their stamina builds and class and performances become easier,” says Cavaleri.

Dancers should tailor nondance exercises to match what they’ll be performing, says Hartog. “Understand the demands of the choreography and adjust your nondance exercises to match it,” he says. For example, if the piece has a lot of battements on the right leg, make sure your strength-training regimen aims to reduce further overload of those muscles and addresses any imbalances that may occur.

Warm Up and Cool Down

It may seem elementary that warming up before and cooling down after class is a good idea, but, according to Green, not taking these steps is detrimental. “These are easy things that are within your control,” she says. “Just do it.”

Keep Self-Care Tools On Hand

There are a handful of PT tools every dancer should own, says Green. These include a foam roller, a massage ball, a TheraBand, a reusable ice pack, a bucket for ice baths, and a rolling stick.

Never Stop Moving

To limit pain after retiring from a dance career, Hartog recommends keeping movement as a central part of life. “It can be any form of physical activity that will keep your bones healthy and muscles stimulated,” he says.

Although the physical demands of the art of dance endure, every dancer should prioritize taking care of their body. Combine these steps with proper nutrition, hydration, and sleep for longevity in a performance career and beyond.

The post 7 Tips for Keeping Your Body Healthy Beyond Your Professional Career appeared first on Dance Magazine.

Toronto-based freelance dancer, actress, and singer Hailey Balaz started to become concerned with her weight while she was a student at a performing arts high school, frequently comparing her body to the other dancers’ in her classes. “I was 15 the first time I went on a diet, the first time I used WeightWatchers to try and keep track of things and try and lose weight,” she remembers. “And from there, it spiraled to food-tracking throughout university, and dieting, and intermittent fasting.” It took Balaz nine years to receive a body dysmorphic disorder diagnosis. Since then, she’s become an advocate for body positivity in the performing arts as she continues to build her career in musical theater. “It’s been amazing to me how much bigger my world has gotten since I’ve started talking about this,” Balaz says. “I was always trying to make myself smaller, and now that I’ve stopped doing that, my world has expanded.”

What Is BDD?

According to Nadine Kaslow, a psychologist who works with dancers, body dysmorphic disorder (BDD) is a mental health condition characterized by an obsession with a perceived defect in physical appearance. “When we talk about body-image issues in dancers, we often talk about ‘I’m fat’ or ‘I don’t like my body’ as this sort of generalized thing—BDD has to be something very specific,” she explains.

Sometimes, as in Balaz’s case, BDD can overlap with disordered eating. Kaslow says that individuals suffering from BDD often will go to drastic measures to change their perceived flaw, and these methods can sometimes manifest in the form of disordered eating, like anorexia or bulimia, or looking towards plastic surgery to alter their appearance.

How It Affects Dancers

Because of the aesthetic nature of dance, the studio and stage can be rife with triggers for BDD. For Balaz, the requirement to wear tights and a leotard in every ballet class was difficult, especially on days when she was feeling particularly negative about her appearance. Seeing only dancers of a certain body type portrayed in media made her feel like there wasn’t a spot in the industry for dancers who looked like her.

Kaslow adds that the frequency­ with which comments about weight and physical appearance­ are doled out in some dance classes contributes to creating an unhealthy environment. “It’s ingrained in the dance culture,” she says. “One of the biggest things we can do is change how we talk with dancers.”

How BDD Is Treated

Treatment for BDD may include talk therapy or medications. Talk therapy could be cognitive behavioral therapy, interpersonal therapy, or, depending on the situation, trauma therapy, explains Kaslow. Because BDD has similarities to obsessive­ compulsive disorder, exposure and response prevention might also be utilized.

Kaslow recommends dancers struggling with BDD learn to draw on mindfulness techniques when the disorder is triggered—reminding themselves to stay present and see and accept their body the way it is. She also suggests focusing on connecting with others during dance class and building a support network, as well as taking steps to avoid excessive mirror-checking—a common ritual for BDD sufferers—in class or rehearsal. She adds that it’s okay to ask teachers or artistic staff to avoid commenting on certain things that you find triggering.

How Does Food Play a Role?

BDD often overlaps with disordered eating. Val Schonberg, a registere­d ­­dietitian and board-certified specialist in sports dietetics­ who works with dancers, explains that nutrition can play a role in treatment. If BDD is causing a dancer to restrict food or engage in other behaviors associated with disordered eating, Schonberg recommends scheduling an assessment with a dietitian to determine if enough fuel is being consumed for daily dance activity. “When we see that an individual has a significant energy deficit, then it’s about helping them get adequate nourishment for muscles, bones, training, brain, and digestion,” she says.

Schonberg emphasizes that when you eat, you’re not only nourishing your body, but also providing your brain with the nutrients it needs to make essential neurotransmitters, such as serotonin, which helps regulate mood. Because BDD is a mental health condition, it’s important to remember that eating plenty of healthy, nourishing food will not only fuel your dancing, but it’s also a vital aspect of recovery.

Resources

If you’re struggling with body dysmorphic disorder or would like to learn more, psychologist Nadine Kaslow, registered dietitian Val Schonberg, and freelance dancer Hailey Balaz recommend the following resources:

• BDD Foundation: Find information and support, including online groups, an email helpline, and information on different treatment modalities at bddfoundation.org.
• International Association for Dance Medicine & Science: Information on many aspects of dance and health, plus a directory to help find a provider at iadms.org.
• International OCD Foundation’s Help for BDD website: Learn about BDD and find help in your area at bdd.iocdf.org.

The post Understanding Body Dysmorphic Disorder appeared first on Dance Magazine.

Originally hailing from Mexico City, Stafford’s grandmother Yolanda lived with her family in Charlotte, North Carolina, for the dancer’s childhood. “I was 17 when I moved to New York for the Joffrey Ballet School,” explains Stafford. “I’d always watched my grandma cook but never really did it on my own, so, when I moved here, I would FaceTime her. This is one of the dishes we’d make together because it’s so easy.” Their shared repertoire also includes chipotle lime chicken, quesadillas, Mexican rice, pasta dishes, and more. The best cooking advice Stafford received from her grandmother? “She taught me to clean as I go. Having the food as a reward at the end instead of having to clean up afterwards has been huge for me.”

Kitchen Playlist

Stafford loves to play music loudly and dance around the kitchen while she’s cooking. “I’ve found a way to make it fun for myself,” she says.­ Recently, her kitchen playlist has primarily­ featured “First Lady of Song” Ella Fitzgerald. “She’s soothing, but she has some music that gets you moving,” says Stafford.

Air Fryer Aficionado

“Getting an air fryer changed my life,” says Stafford. “It speeds up everything.” Her favorite things to cook in this much-loved kitchen tool are potatoes, sweet potato fries, and chicken. “I chop those small potatoes into cubes, season them quickly, and pop them in the air fryer. Instead­ of coming out gushy in the middle, they’re nice and crispy,” she says. “And it takes half the time!”

Ingredients

• 4 cups water
• 2 cups long-grain white rice
• 2 cinnamon sticks
• 1 14-oz can sweetened condensed milk
• 1 12-oz can evaporated milk
• 1/2 cup whole milk
• 2 tsps vanilla extract (optional)
• ground cinnamon, for serving

Instructions

1. Add the water, rice, and cinnamon sticks to a medium -sized pot.
2. Bring the mixture to a boil over high heat. Turn the heat to medium and cook uncovered until the rice is tender. (You’ll know the rice is ready when it’s about 2 minutes from done and still has a tiny bit of crunch to it, like cooking pasta al dente.)
3. Strain out the liquid, and remove and discard the cinnamon sticks.
4. Return the drained rice to the pot and place on low heat. Stir in the three milks (evaporated, condensed, and whole) and the vanilla extract, if using. Continue cooking over low heat, stirring occasionally, until the mixture starts to boil and thickens into a puddinglike consistency.
5. Transfer pudding to a bowl, add cinnamon to garnish. Can be served warm or cold.

The post New York Theatre Ballet’s Sarah Stafford Shares Her Grandmother’s Arroz con Leche Recipe appeared first on Dance Magazine.

No matter how basic the dish she’s making, Souder pays attention to its appearance. “I always joke that I serve two Marthas: Martha Graham and Martha Stewart,” she says, referencing the second Martha’s emphasis on culinary presentation. “Dancers are so visual, and I believe we eat with our eyes,” says Souder. “Even the easiest recipe can be cared for and made beautiful in a way that you enjoy sitting down with it.”

Lunch Break

Souder brings her dual approaches of sustainability and aesthetics to packing her lunch each day. She’s made an effort to switch out her plastic Tupperware for glass, snap-top alternatives. “The test was if I could throw it in my dance bag without it leaking,” she says. “They’re heavy, but worth it if you don’t want soup on your tights.” For snacks—usually a combo of nuts, for a protein boost, and salty carbs, like pretzels—Souder likes reusable silicone Stasher bags.

Potato-Crust Quiche

Ingredients

• olive oil (for pie dish, potatoes, and frying pan)
• 2 large golden or russet potatoes, scrubbed and sliced slightly thicker than a quarter
• 1 small yellow onion, halved and thinly sliced
• 3 oz fresh spinach (about half a bag)
• 10 oz cremini mushrooms, halved and sliced
• 6 large eggs
• 1 cup half-and-half
• optional: 1/4 cup sour cream (“A French person who was in the company said she always used sour cream, so I’ve done that since,” says Souder. “It adds this tangy, creamier texture.”)
• salt and pepper to taste
• 1 to 1 1/2 cups shredded cheese (Souder recommends Gruyère)

Instructions

1. Preheat the oven to 425˚F. Generously grease the bottom and sides of a 9-inch pie dish with olive oil. Assemble the crust by layering the potato slices on the bottom and sides of the dish, overlapping the potatoes to create as few gaps as possible. Lightly drizzle the layered potatoes with olive oil, and season with salt and pepper. Bake for 20 minutes, or until potatoes take on a golden color and the edges begin to curl slightly. Remove from the oven and let cool for a few minutes while leaving the oven on.
2. While the crust is baking, heat a drizzle of olive oil in a large frying pan, and sauté the onions and mushrooms over medium-high heat until soft and slightly browned. Season with salt and pepper, then add spinach and cook until wilted.
3. To make the custard, whisk the eggs, half-and-half, sour cream (if using), salt, and pepper until combined.
4. Assemble the quiche by sprinkling the shredded cheese on the bottom of the baked crust, then evenly spreading the vegetable mixture over the cheese. Pour in the custard to fill the pie plate.
5. Bake for 20–25 minutes, or until the quiche begins to puff and gently crack around the edge but the center still jiggles gently. Remove from the oven and let cool for at least 25 minutes. Serve warm, room-temperature, or chilled.

Only Green Salad

Ingredients

• 2 heads butter lettuce, chopped (For extra-crisp lettuce, shock the greens in an ice bath for 5 minutes and then dry)
• 1 cucumber, halved and sliced
• 1 avocado, cut into bite-sized cubes
• 1 small green apple, cut into matchsticks
• 1/4 cup sliced or slivered almonds, preferably toasted
• optional: feta or Parmesan cheese to taste

For the Dressing

• 1 shallot, minced (To tone down its intensity, Souder recommends rinsing the chopped shallot under cold water)
• 1 lemon, juiced
• 1 tbsp water
• 2 tsps Dijon mustard
• 1/2 tsp maple syrup
• 2 sprigs fresh thyme, washed and stripped (can substitute dried thyme)
• 1 clove garlic, finely chopped or grated
• salt and pepper to taste
• 1/2 cup olive oil
• optional: splash of rice wine vinegar

Instructions

1. To make the dressing, place the shallot, lemon juice, water, mustard, maple syrup, thyme, garlic, and a healthy pinch of salt and pepper in a medium bowl and whisk to combine. While keeping your whisk moving, slowly add the olive oil to emulsify. If you prefer more acid, add a splash of vinegar.
2. Layer the salad ingredients in a large serving bowl starting with the greens and followed by the toppings, a drizzle of dressing, and cheese (if using). Season with salt and pepper to taste.

The post Martha Graham Dance Company’s Anne Souder Shares Her Substitution-Friendly Potato-Crust Quiche and Only Green Salad Recipes appeared first on Dance Magazine.

While the intent behind “What I Eat in a Day” posts is often harmless, the reality is that they can lay the groundwork for a dancer’s struggle with food. Dancers are already more vulnerable to harmful food and body beliefs that risk disordered eating—adding another source for comparison can leave dancers feeling doubtful; wondering if their choices are “good” or “bad,” and, potentially, inducing guilt if their meals and snacks don’t align with what is deemed acceptable for a dancer. As a dietitian for dancers, I encourage artists to think about the influence that “What I Eat in a Day” posts might have on them—and to consider scrolling right past them.

They’re Not a Reflection of Your Individual Needs

Comparing what one dancer eats to another dancer’s meal plan makes it difficult to both identify and honor the body’s individual needs. The types and amounts of food that are needed to support a dancer’s body are highly variable and dependent­ on many factors that go beyond what a single reel can depict. Simply put, what works for one dancer might not work for another. Those attempting to follow someone else’s eating routine might risk behaviors that leave them underfueled and undernourished—a recipe for injury.

They’re Often Inaccurate

Social­ media is a highlight reel and the missing factor in most of these posts is a dancer’s relationship with food. It’s unlikely that a dancer’s “What I Eat in a Day” is showing the complete picture. Additional helpings of food, impromptu snack times, or experiences that dancers might feel don’t live up to the misguided expectations set forth by diet culture are all examples of what might be cut out. And there’s the fact that a single day’s worth of meals and snacks isn’t all that is supporting a dancer’s performance potential. Eating patterns over time—this includes fueling and hydration efforts, along with sleep patterns and training routines—matter. One snapshot will never reflect enough of what is needed to support a dancer’s capabilities.

They Can Trigger and Worsen Disordered Eating

Restrictive eating is unfortunately normalized in today’s wellness-driven culture, with “clean” eating being a common culprit. Since many dancers unintentionally partake in such eating habits, there’s the likelihood that any “What I Eat in a Day” vlog may represent a disordered way of eating. Whether it’s not eating enough calories or attempting to abide by strict food rules, dancers—who have unique nutritional needs because of their physically demanding art form—might be contributing to a narrative that supports disordered eating.

Are Food Posts Totally Off the Table?

They don’t have to be. There’s a difference between sharing inspirational food content (like recipes and snack ideas) and then sharing that same content with nutritional advice alongside it. To help reduce the risk of disordered eating among dancers, it’s recommended to source food advice from registered dietitian nutritionists who are particularly familiar with the unique needs of dancers.

The post 3 Reasons to Scroll Past “What I Eat in a Day” Posts appeared first on Dance Magazine.

According to Brooke Ewert, founder of Rocky Mountain Sports Counseling Center in Colorado, dancers might hesitate to reach out for help when struggling with depression because of a fear of negative repercussions: “Athletes and performers overall are very good at hiding things because they don’t want it to impact which roles they’re getting or other opportunities.”

What Is Depression?

Common symptoms of depression include a consistently low mood, a loss of interest in most activities, a significant weight loss or gain, changes in sleep, decreased energy, and dietary changes, explains Ewert. Suicidal thoughts might also be present, she says, adding that in order to be diagnosed, an individual must display at least five of these symptoms for at least two weeks.

Dancing When You’re Down

Williams says that during periods of depression, she experienced a lack of motivation that made getting to class a huge hurdle. “I’ve struggled to get out of bed,” she explains. “I typically find that getting myself to the dance studio or to rehearsal is the hardest thing.”

Williams has also experienced depression-related brain fog in class, which makes it difficult to pick up choreography. When her mood is low, she’s less willing to communicate with others, making group work more challenging. When a series of serious knee injuries forced her to miss opportunities to perform, travel, and audition for companies, her depression worsened.
Ewert adds that depression might make some individuals more prone to experiencing impostor syndrome, which can be especially troubling for dancers, given the already-present inclination to self-comparison.

Treatment and Coping

Compiling a robust tool kit of coping skills is essential for battling depression. For Williams, establishing a support network of friends, family, and mental health professionals with whom to share her feelings has been key. On a day-to-day basis, she also takes preventative steps, like keeping her space tidy, establishing self-care habits, and giving herself the grace to take a mental health day if needed. “If you had appendicitis, had to have surgery, and were out for a week in recovery, no one would question that,” she says. “I think there’s still a stigma around taking time for yourself to heal your mind, but you have to do it.”

Ewert also emphasizes the importance of things like setting goals, journaling, being kind to yourself, and getting good sleep, but acknowledges that, oftentimes, depression will make you not want to do the things that will actually help you feel better. “Depression is basically telling you that you don’t want to do anything, you just want to lay in bed all day, you just want to think and ruminate,” she says. “The thing I always tell my clients is that you have to actually go do something even though your brain and your body are telling you not to.”

Depression isn’t something to try to tackle on your own. Seeking professional help is a crucial step in healing. According to Ewert, those starting treatment can expect to work with a therapist and potentially a psychiatrist, if medication is a route they’d like to pursue.

Healing and Continuing to Create

Although a dance environment can present challenges to those struggling with depression, dancing can also be an instrumental part of the healing process. Getting regular physical exercise has positive effects on mood, and taking the time to connect with things you love can help bring you back to a more positive headspace.

Ewert says that the sense of community that dance often fosters can be a huge benefit for those struggling and can help reconnect a dancer with the things they love about life. Also, the sense of mastery that attending a class in a favorite style can provide is beneficial in reminding dancers of their goals.

Williams adds that dance has often felt like a refuge for her and says that her experiences with depression, when channeled into choreography, have inspired her creativity. “I felt like I was my most honest self as an artist when I could create pieces about my experience and feel a connection to that,” she says.

Resources

• 988 Suicide & Crisis Lifeline: If you’re struggling with thoughts of suicide or know someone who is, dial 988 to speak with a trained counselor.
• The Trevor Project: This LGBTQ-focused crisis hotline allows you to text, call, or chat with a counselor. 
• National Institute for Mental Health: Find reliable information, plus get in touch with a provider
• @counselingfordancers on Instagram: Terry Hyde, MA MBACP is a former dancer and psychotherapist who specializes in working with dancers
• Feeling Good: The New Mood Therapy, book by David D. Burns, MD
• Change Your Brain, Change Your Life, book by Dr. Daniel Amen

The post How Depression Affects Dancers and When to Seek Help appeared first on Dance Magazine.

“My partner and I love, love, love sweet potato pie,” says TyNia René Brandon, who uses she/they pronouns. Although the soul food classic is closely associated with holidays like Thanksgiving and Christmas, for Brandon, who plays Dolores and is a member of the ensemble in Broadway’s Some Like It Hot, it’s timeless. “It can definitely be a year-round type of light, happy dessert,” they say. “I will admit that oftentimes we have it for breakfast.” Although Brandon and their partner, Leo, have developed their sweet potato pie recipe together over the years, its roots lie with Brandon’s­ aunt. “I’ve always felt like she has the best sweet potato pie in the world,” says Brandon. “But we added our own flair. We threw in our little generational twist.”

Being on a Broadway schedule—before Some Like It Hot, they were in The Lion King and Beautiful: The Carole King Musical—Brandon has learned to be flexible when it comes to cooking. “My approach is always what is convenient and quick but also fresh and flavorful,” they say. But on their day off, Brandon prioritizes making more complex meals together with Leo. “Before I was partnered, I absolutely hated cooking,” they say. “It’s become so much more enjoyable for me because now it’s a communal experience, and that’s how it was growing up.”

Kitchen Soundtrack

Brandon and their partner love to host dinner parties, giving their friends jobs to involve them in the cooking process. And no party is complete without music. “We really love listening to Samara Joy, a jazz artist,” says Brandon. “And she actually just came to see our show!”

Ingredients

Makes 2 pies

• 2 frozen pie crusts (Brandon likes Pillsbury, but any brand will do.)
• optional: 1 tbsp olive oil or coconut oil
• 4 whole sweet potatoes
• 2 large eggs
• 1 cup milk (Brandon prefers oat milk, though notes that 2% milk will also work.)
• 1/2 cup white sugar
• 1/2 cup brown sugar
• 1/2 cup orange juice
• 4 tbsps (half a stick) melted butter
• 1 tsp orange zest
• 1 tsp salt
• 2 tsps cinnamon
• 2 tsps nutmeg
• 2 capfuls vanilla extract (“ ‘Capfuls’ is something I learned from my family growing up,” says Brandon, who roughly equates the measurement with one teaspoon. “In Black culture there’s not a lot of measuring. We have a saying that we pour until our ancestors tell us to stop.”)
• 2 capfuls almond extract
• whipped cream for topping (optional)

Instructions

1. Preheat oven to 375°F and remove pie crusts from the freezer to begin thawing. Optional: Rub oil onto the edges of the crust to keep cracks from forming and to achieve a shinier crust once baked.
2. Rinse the sweet potatoes, and bring a large pot of water to a boil. Add the whole sweet potatoes, and boil roughly 30–35 minutes, until they’re soft and can easily be pierced with a knife.
3. Remove the potatoes from the pot and submerge them in a large bowl of ice water. Once they’re cool enough to touch, peel off the skin with your hands.
4. In another large bowl, mash the sweet potatoes with a fork or a potato masher until smooth.
5. Add the remainder of the ingredients (eggs, milk, sugars, juice, butter, zest, salt, cinnamon, nutmeg, extracts) to the sweet potato mash and whisk vigorously until no lumps remain. (“I don’t like a lumpy sweet potato pie,” says Brandon.)
6. Pour mixture into thawed pie crusts, dividing equally. Bake for 30 minutes or until pie filling is solid and a toothpick comes out clean. You can also shake the pie to test for doneness. If it’s still jiggling in the center, it’s not done.
7. Let set and cool for up to an hour, then enjoy. Add a dollop of whipped cream for an extra treat.

The post <i>Some Like It Hot</i>‘s TyNia René Brandon Shares Their All-Season Sweet Potato Pie Recipe appeared first on Dance Magazine.

Hunger cues can be categorized into different types—those that stem from biological factors and those that stem from psychological factors. The body’s biological need for energy replenishment can be experienced in a variety of ways, such as a grumbling stomach, lightheadedness, a headache or overall fatigue from diminished blood sugar. Psychological factors also impact appetite: There are times when your desire to eat might just be because a food looks appealing­ and smells appetizing. The urge to eat can also present­ itself during times of heightened emotional triggers, like stress, nerves, anxiety and even excitement.

There’s a lot to consider when deciphering your body’s appetite cues; understanding these strategies can help you navigate them in a healthier way.

Regulating Appetite

Your body will be most reliable at communicating its needs when you’re eating nutritious foods regularly, which provide adequate tools to support metabolic and physical functioning. An under-fueled dancer will experience extreme appetite fluctuations: Rebound hunger occurs after an extended period without a meal or snack. Once you do start eating, hunger cues skyrocket as your body prioritizes the need to make up for a calorie deficit. This can lead to feeling out of control around food, setting the stage for “over”-eating.

Balanced meals and snacks eaten regularly throughout the day are important for dancers, even when you’re not hungry. Preparing ahead and packing convenient options for long rehearsal­ or performance days is a great way to progress toward metabolic health and regulating your appetite.

Recognizing Physical Hunger

Physical hunger cues will eventually become more reliable as you work to regulate your appetite. Taking time to notice, and note in a journal, how your body is communicating hunger can be a helpful exercise. As mentioned before, the obvious signs of a grumbling tummy, lightheadedness, a headache and/or overall fatigue are easier to identify. But hunger can present in more subtle ways—relentless thoughts about food, irritability and difficulty picking up choreography are just a few.

Banishing food rules that dictate when to eat is especially important for dancers whose performance schedules leave them dancing through the evening hours. If you’re hungry, eat.

Making Room for Taste Hunger

Eating without the presence of physical hunger cues can feel taboo, but ignoring those cravings can fuel a cycle of compensatory eating and food guilt. The best way to honor taste hunger is to do so within the context of adequate fueling. The balanced meals and snacks you’re eating regularly throughout the day will unlock your ability to harness mindful eating techniques. Your ability to slow down and savor the experience helps to build self-trust around all foods—whether you’re hungry or not!

As you identify your body’s unique hunger cues, consider how your fueling plan is supporting you. If you’re continuing to bounce between extremes—like intense hunger and uncomfortable fullness, a registered dietitian nutritionist can help to identify the potential for red flags of an unsupportive fuel plan. Appetite regulation can be challenging for dancers, but the added effort will help to support your training.

The post 3 Strategies for Recognizing and Healthily Navigating Hunger Cues appeared first on Dance Magazine.

Jones has always loved cooking, and although pesto was in her regular rotation before starting herb school, she now has a deeper understanding of the greens—and raw garlic—involved. “I like using a variety of herbs because you get that huge diversity of nutrients and vitamins,” she says. “It’s a flexible recipe, but it’s also kind of potent food as medicine.” Jones also likes pesto for how economical it can be as a delicious way to use up greens you might have lingering in the back of your fridge. “You’re transforming something that’s a bit sad to something that’s so bright and energized,” she says.

Herby Eggs

Want another flexible way to incorporate more herbs into your diet? Jones likes to add fresh herbs when making eggs. Lately, inspired by the flavor profiles favored­ by chef Yotam Ottolenghi, she’s been using sage. “It’s just a bunch of sage and olive oil with eggs, and then lavender, sumac and za’atar salt on top,” she says. “Super-flavorful, but really easy.”

Find an Herbalist

Jones recommends turning to American Herbalists Guild (americanherbalistsguild.com),­­ a database with stringent requirements for providers. As much as possible, she suggests, keep your search local. “Look up nearby herbalists and go on plant walks with them,” she says. “It’s not only worth supporting those people and learning from them, but it’s also learning your local plants and traditions.”

Ingredients

• 3 cups washed, dried and roughly chopped greens (Try dandelion greens, spinach, arugula, parsley, basil, dill or a mixture of different varieties. “You can find dandelion greens at most health food stores or farmer’s markets,” says Jones.)
• 1/4 cup nuts or seeds (Options include walnuts, pine nuts, almonds, sunflower seeds and pecans.)
• 2–3 garlic cloves
• 1/2 a lemon, juiced
• 1/4 cup extra-virgin olive oil, plus 1 tbsp for storing (If including cheese, additional olive oil may be necessary to smooth out the texture.)
• salt and pepper to taste

Optional Additions:

• 1/4 cup grated hard cheese, such as Parmesan or pecorino Romano
• sprinkle of Aleppo pepper or crushed red pepper flakes (“For a little kick,” adds Jones)

Instructions

1. Put greens and nuts into a food processor and pulse a few times. Scrape down the sides with a spatula.
2. Add the garlic, lemon juice and olive oil, and continue to pulse until everything looks evenly chopped.
3. Add cheese and Aleppo or crushed red pepper, if using. Pulse, and balance out with additional oil if needed to achieve a smooth consistency.
4. Add salt and pepper to taste and adjust other flavors to your liking.
5. Transfer either to a bowl to enjoy right away or to a jar to store. Before refrigerating, add a thin layer of olive oil on top to help preserve. Pesto keeps for about one week in the refrigerator, or it can be frozen into cubes for future use.
6. Enjoy pesto on pasta or as a spread. “I love it on some delicious bread or on some beautiful radishes, celery or crackers,” says Jones. “I also love it as a side for meatballs or fish. It’s so versatile.”

The post Trisha Brown Dance Company Member Lindsey Jones Shares Her Wild Greens Pesto Recipe appeared first on Dance Magazine.

The focus on mental health was a notable shift: While past conferences have featured a handful of presentations related to mental health, the subject was on par with presentations relating to training, biomechanics and medical topics in 2022. The inaugural Linda and William Hamilton Annual Dance Wellness Symposium, held as part of the conference, contributed to the increase by providing awards to three presentations that demonstrated collaborative research encompassing physical and mental health.

Leaders in the field of dance medicine and science presented data, panel discussions and movement sessions on a vast array of topics over four days. Among the many points of discussion were resilience and confidence, body image, sexual abuse in dance, approaches to treating dance injuries, the positive impact of dance for nondancers and the ever-hot topic—should your heels touch the floor in plié?

Takeaways From 2022 IADMS Conference Presentations

• A 2021 survey of 96 professional ballet dancers in Germany found that 24% had symptoms of depression, 34% generalized anxiety disorder, 10% eating disorders, 9% were severely underweight and 64% had sleep problems. (Astrid Junge, Grit Reimann, Anja Hauschild)
• A series of six studies on the effect of the mirror on body image on beginning ballet students found (in part) that students who trained without mirrors, or with partial use of mirrors, felt better about their body image than students with full mirror access. In addition, students who trained without a mirror showed more technical growth in the performance of an adagio phrase than students who trained with a mirror. (Sally A. Radell, Mara P. Mandradjieff, Smrithi R. Ramachandran, Daniel D. Adame, Steven P. Cole)
• A survey of 106 undergraduate dance students training primarily in ballet and contemporary dance found that around 30% of the dancers may be at risk of, or are currently experiencing, disordered eating/exercise behaviors. Notably, 21% of those dancers stated that the behaviors began during the pandemic and 79% stated that this occurred prior to the pandemic. Instances of disordered eating and exercise behaviors were noted across all body weights and sizes and not limited to the thinnest dancers. (Kathryn Peters, Jasmine Challis)
• A study by Dance/USA looked at injury rates across a variety of factors in 15 professional dance companies between 2017 and 2020. They found (in part) that companies with 30–39 dancers had higher rates of injury than those that were smaller or larger, and that injury rates increased as the number of different choreographers the dancers worked with increased. Dancers were more likely to be injured doing repertoire that was choreographed between 100 and 124 years ago. (Gary Galbraith)
• One study addressed a persistent question in ballet: Should a dancer’s heels touch the floor in plié before a jump? The researchers found that with heels on the floor, dancers achieved a higher vertical jump; and with heels up, they increased the speed of their movement. The research suggests that having heels on the floor works in favor of some jumps and in disfavor of others. (Bárbara Pessali-Marques, Wanessa de Assis Souza)
• Despite the assumption that hypermobile dancers have poorer balance than non-hypermobile dancers, a study of 85 collegiate dancers found that there was not a notable difference in the balance of hypermobile dancers compared to their peers. Researchers questioned if this is because there isn’t a mechanical difference in their ability to balance, or if dancers at this level had found ways to compensate for their hypermobility to achieve the same level of balance. (Allegra Romita)

IADMS’ 2023 gathering of dance science specialists will take place October 12–15 in Columbus, Ohio. IADMS members receive discounted conference registration, which includes reduced costs for students and dancers who wish to attend. The 2024 conference will take place in Rimini, Italy.

The post Highlights of the 32nd Annual IADMS Conference appeared first on Dance Magazine.

Meal prep involves planning meals and snacks, along with various foods and ingredients, ahead of time. There is no “right” way to execute meal prep, and what works for you might not be what works for another dancer. For some, prepping­ involves gathering ingredients or premade conven­ience options, like prepared foods and packaged snacks.

Others may take a more detailed approach—constructing large portions of home-cooked meals to split throughout the week. Another dancer’s version of meal prep may simply involve pre-portioning packable snack bags. Whichever you prefer, consider these five steps to developing a healthy plan for the week.

Take Inventory

This might be the hardest step, but it is the most important. Carve time to brainstorm what the preparation looks like for you. Aim for a 15-minute window each week—ideally, a time when access to the kitchen is possible—to take inventory of what’s stocked and what needs to be purchased. If you’re up for the challenge, pick a few recipes beforehand. Reusable food-storage containers are also an investment to consider.

Prioritize Your Macronutrients

Since balance is important for your meals and snacks, consider the three macronutrients when deciding upon various components of your soon-to-be-prepped meal. Reliable pantry staples like rice, quinoa, bread and crackers are great options for carbohydrates. Meats, dairy and eggs, along with plant-based alternatives like beans, lentils, nuts and seeds, are protein-rich additions for balanced meals. Don’t forget to take inventory of cooking mediums like oil and/or butter for your third macronutrient (fat), along with any herbs and spices you might like to add.

Cook in Batches

Once you’ve chosen your recipes and gathered your ingredients, set aside time to cook. For many dancers, Sundays and Mondays are often the least busy days and therefore a practical option for meal prep. Start small—simply double your recipes. Consider separating the main components in each dish. For example, prep carbohydrates and store in a separate container from the proteins you prepare. This will help to reduce taste alterations and allow for an easy meal construction later. Preparing larger batches to utilize over the course of a week can also help to reduce food waste and food cost. Another bonus? Your cleanup will be smoother.

Keep It Practical

Frozen produce is a great option for meal prep—with less of a worry about food waste, it can add an economical and nutrient-dense punch to your meals and snacks. Frozen veggies that are precut and prewashed can be easily added to roasted or sautéed dishes, both of which can be refrigerated for several days. Stock versatile frozen produce like peas and carrots, corn, spinach, broccoli, cauliflower, berries and mango. Cooked beans, lentils and chickpeas are other great options that last for several days in the fridge. Root vegetables like potatoes and carrots also last longer than most other veggies when refrigerated.

Seek Support

As with most nutrition-related concerns, reaching out to a registered dietitian nutritionist is encouraged for dancers who might be struggling with the idea of meal prep. Whether you’re having a hard time coordinating or are discouraged over the idea of stocking larger portions, a dietitian can help you reduce the stress in ways that make meal prep effortless and enjoyable.

If you feel stuck eating the same foods out of convenience and are looking to build more balance into your meals, then meal prep might be your ticket to a tastier, more affordable, and even more nourishing performance fuel plan.

The post How to Make Meal Prep Work for You—and Your Busy Schedule appeared first on Dance Magazine.

Over the years, Lane created this spin on her mother-in-law’s recipe, adding apple for a sweet twist, rosemary to bring out the warm, wintery flavors and fennel to aid digestion. Lane’s approach to cooking is closely paired with her interest in nutrition. Since leaving ABT she’s had the chance to turn that passion into a profession. In addition to guesting with companies worldwide, during the pandemic Lane received her nutrition health coach certification from the Institute for Integrative Nutrition, and now works regularly with other dancers. “I want to be someone that can support dancers to prioritize their health,” she says.

Keeping Perfectionism Out of the Kitchen

When Lane started cooking, she was inspired­ by her mother-in-law. “She puts so much love and work into preparing meals, and it brings people together,” says Lane. That approach helped her to let go of striving to be perfect, and, instead, she could play around in the kitchen. “I had enough perfectionism in my ballet work. Cooking became more intuitive and artistic. I’m not afraid of making a bad dish or making mistakes. I think trial and error is the best way to learn.” Although, Lane adds, laughing, “my poor husband has to eat it!”

Instant Pot Enthusiast

Lane often turns to her Instant Pot when making her lentil soup. “You can do all of the sautéing in there, then turn it on and it’s done quickly,” she says, “and you have limited dishes to wash.” She recommends dancers invest in a multi-cooker as a way to quickly prepare nutritious food. “We just have limited time and energy to be standing in the kitchen after long rehearsal­ days,” she says. “Less time in the kitchen, more time with your feet up!”

Ingredients

• 1–2 tbsps olive oil
• 1/2 large onion, diced
• 1 fennel bulb, diced
• 2 apples, diced
• 1 tbsp garlic, minced
• 1 tsp ginger, minced
• 1 tsp fresh or dried rosemary and/or thyme (“Dancers don’t always have a lot of time to grocery-shop regularly, so dried works just as well,” says Lane.)
• 1 tbsp salt, plus more to taste
• 1 lb red or brown lentils, rinsed in cold water and checked for debris (“Green or yellow will work too, but I find that the darker lentils go really well with the apple.”)
• 48 oz vegetable broth
• 1–2 tbsps red wine vinegar (optional)­

Instructions

1. In a heavy saucepan or Dutch oven, heat the olive oil.
2. Add the onion, fennel, apples, garlic and ginger, and sauté over medium heat until slightly softened (about 10 minutes).
3. Toss in the rosemary and/or thyme as well as 1 tablespoon of salt, and stir.
4. Add the lentils and the vegetable broth and bring to a gentle boil. Partially cover with a lid and simmer until soft (about 25–30 minutes). Add more salt to taste.
5. When serving, drizzle each bowl with a spoonful or two of red wine vinegar for tartness, if desired. To turn the soup into a complete source of protein, pair with a whole grain or a piece of whole-grain toast. “Lentils are an excellent source of protein, especially for vegetarians, but they don’t have all of the essential amino acids our bodies require,” says Lane.

The post Ballerina and Health Coach Sarah Lane Shares Her Spanish-Influenced Sweet and Salty Lentil Soup appeared first on Dance Magazine.

A symbiotic relationship exists between you and your gut microbiome. Dancers who are struggling to balance their training efforts and/or build supportive fueling habits can also be impacting their gut microbiomes. Though supplements claiming to support gut health are gaining popularity, evidence is limited and the products themselves are often financially inaccessible. To support your gut microbiome, start by recognizing the impact of practices that are unfortunately common in dance.

Restrictive Dieting

Carbohydrate-restricted diets commonly limit grains, bread products and fruits—all of which are rich not just in energizing carbohydrates but also in the prebiotic fibers that supply nourishment to the gut’s microbiome. A significant number of individuals who struggle with disordered eating and/or eating disorders might be more prone to struggling with functional digestive disorders such as irritable bowel syndrome. A decrease­ in bacterial diversity is largely to blame and evidence of the importance of a balanced and varied meal plan.

Stress and Inflammation

Prolonged exposure to stress and subsequent inflammation can impact the gut’s microbiome. Here’s where interventions get tricky. A popular recommendation to those struggling with higher levels of stress and suspected inflammation is the adoption of “clean” eating. While such a suggestion seems harmless, focusing on clean eating can be a gateway to orthorexia, an obsession with healthy eating, which itself can further exacerbate the stress of disordered eating. Any dancers with a propensity toward disordered eating should rely on education set forth by a licensed dietitian well versed in its treatment.

Overexercising

Intense training is built into a dancer’s schedule. Consistent overtraining with little to no recovery time, however, may negatively impact the gut’s microbiome. This area of research is still emerging, with much still unknown regarding how the intestinal microbiome responds to physiological stress. But for dancers who experience stomach distress, taking time off can make room for stress-reducing activities like yoga, journaling and meditation—all of which can support the sustainability of a dancer’s career.

Probiotics and Prebiotics

To mediate a flourishing microbiome without turning to expensive supplements, consider making small changes that favor an intestinal environment of bacterial diversity. Foods rich in probiotics are helpful, but also require the addition of prebiotics, or fermentable fibers that act as food for gut microbes. To help to increase your intake of both probiotics and prebiotics, try adding some of these to your dancer fuel plan.

1. Kefir, or fermented milk, is rich in probiotics and can be added to smoothies to help boost the diversity of your intestinal microbiome. Other fermented foods, like sauerkraut, kimchi, miso and yogurt, also offer a rich dose of probiotic bacteria.
2. Apples are a great source of prebiotic fiber.
3. Sprouted foods (grains, nuts, seeds and legumes) are often easier to digest and, as a result, increase the nutrient availability of these fibrous options.
4. Oats are rich in soluble fiber, specifically betaglucan, which promotes favorable effects on digestive functioning. Sprinkle oats into a smoothie or construct a jarful of overnight oats for a quick on-the-go breakfast.
5. Symbiotic food combinations: pair sources of live probiotics with food rich in prebiotic fibers. For example, adding sliced bananas or apples to your yogurt will boost the overall gut-supporting benefits of your snack.
   

The post 3 Practices That Can Harm Your Gut Microbiome appeared first on Dance Magazine.

After receiving her diagnosis and finding treatment that worked for her, Emory has connected with her dancing in a new way, and is now pursuing a dance degree at the University of Limerick in Ireland, in addition to performing with Ohr Dance Company and developing her own choreographic projects.

What Is GAD?

According to Kristen Mackel, a licensed clinical social worker who specializes in working with athletes and creatives, when talking about GAD, it’s important to differentiate between the disorder and anxiety as an emotion. This can be done by thinking in terms of what she calls “states” and “traits.” “An emotion is a state; it comes and goes,” she explains. “A disorder is much more of a trait; it’s more prevalent, persistent and pervasive.”

GAD is characterized by a variety of physical and mental symptoms, like uncontrollable, excessive worries, feeling restless or on edge, or, on the other hand, feeling frozen and unable to move. Individuals with GAD might also experience heart palpitations, nausea, dizziness, shortness of breath, gastrointestinal distress, sleeping troubles and increased irritability.

Dancing With GAD

GAD can show up in dancers in many ways, explains Leigh Skvarla, PhD, LPC, who, along with Mackel, founded the Center for Grit and Growth to work with athletes and creatives. For example, individuals with GAD might have a hard time standing still and could be more prone to fidgeting in class. Additionally, learning choreography might present a challenge, says Skvarla, who explains that “if you’re anxious, you probably have trouble focusing on the present moment.” And, she says, this can sometimes put dancers at greater risk for injury, both because they aren’t mentally present and because anxiety is associated with muscle tension, making it harder to execute certain movements.

Aspects of class, like being asked to improvise, might also elicit anxious feelings. “Vulnerability is uncomfortable for most all of us, as people, and certainly is extremely uncomfortable for folks who are already anxious about the judgmental thoughts in their head, and then maybe even the thoughts that they think other people are having about them,” Skvarla says.

Treatment and Coping

There are a variety of treatment options for GAD, say Mackel and Skvarla. One of the most common is cognitive behavioral therapy (CBT), which encourages patients to challenge their thoughts and ask if they might be distortions of reality instead of facts. Aspects of GAD can also be treated with exposure-based therapy, especially if the disorder is preventing you from doing things you love. Developing coping skills like self-soothing, which can help regulate emotions in tough situations, is also recommended.

An important aspect of treatment is finding a provider, or group of providers, that specializes in addressing your symptoms, Mackel says. A team can include a licensed mental health clinician, like a counselor or social worker; a psychiatrist or nurse practitioner, to manage medications; and a registered dietitian, to make sure you’re getting enough fuel to support an active lifestyle.

Moving Towards Healing

Although GAD presents many unique challenges for dancers, Emory says, when she started treatment—which, for her, was a combination of therapy and medication—she felt like the world opened up to her. “Therapy helped me retrain my thought processes so that I would be less results-focused and more process-focused,” she explains. “That’s helped me in the studio and in being able to start my own dance projects.”

And, while you’re in treatment, remember that dancing can aid in your recovery. Skvarla says that exercise can play a large role in improving mood and overall well-being. For Emory, the studio has actually become a place where she’s able to leave her worries behind, especially when she’s able to express herself through improvisation or other personal projects.
“For people with various anxiety and mood disorders, you can get so trapped in your headspace that you just feel imprisoned,” says Emory. “I think dance is the perfect avenue out of that.”

Resources

If you’re struggling or want to learn more, Leigh Skvarla, PhD, LPC, and Kristen Mackel, LCSW, recommend these resources:

• Psychology Today: Find a therapist and learn about mental health.
• Anxiety & Depression Association of America (ADAA): Find a therapist, learn about a variety of mental health conditions and different types of therapy.
• International Association for Dance Medicine & Science (IADMS): Find a provider who specializes in working with dancers, learn about a variety of dance-specific health topics.
• Entertainment Community Fund (formerly The Actors Fund): Connect with a therapist, attend support groups, get help with health insurance questions, see if you are eligible for financial assistance.
• Therapy for Black Girls: Connect with mental health resources specifically tailored towards Black women.

The post What You Should Know About Dancing With Generalized Anxiety Disorder appeared first on Dance Magazine.

Take heart, veggie lovers: Eating fruits and vegetables gives you a nutrient boost that helps to support health and performance. When compared to conventionally grown foods, current evidence does not support substantial nutrition-related health benefits from eating those labeled organic. This can feel reassuring, especially with steep prices exacerbating the issue. Since conventionally grown foods and those labeled “organic” are both nourishing, dancers can feel confident with either choice.

Is Conventional Produce Unsafe?

Common speculation surrounding the use of various additives in conventional farming practices—particularly pesticides, herbicides and preservatives—often leaves dancers questioning their produce choices. But thanks to regulatory agencies that oversee and enforce limits on these practices, the tiny amounts found in our food supply are considered safe.

Contrary to common belief, organic food production still requires the use of pesticides, with organic farming mostly using pesticides derived from naturally occurring substances and conventional farming using synthetic pesticides. For dancers looking to support their environment, there are many additional ways to partake in sustainable practices. Shopping with reusable bags, composting, recycling and purchasing from local farms are examples. Even flexible meal planning, a practice that can be considered with the help of a registered dietitian nutritionist, can reduce food waste.

Food labels can be confusing—especially when relying on standards set forth from diet and wellness culture. Words like “toxic” and, on the contrary, “clean” are used to lump products into categories as “good” or “bad.” This polarizing lens is stressful, particularly when those foods believed to be acceptable are inaccessible.

Your decision to purchase organic food—or not—is a personal one that shouldn’t be served alongside feelings of guilt, stress, shame or anxiety. Realize that the benefits of including more fruits and veggies into your day, whether conventionally grown or organic, outweigh any supposed risks.

Easy Adds

To get more produce into your day, consider these five dietitian-approved and effortless strategies:

1. Choose frozen produce, which can be purchased in bulk without the worry of spoilage.
2. Toss a handful of frozen spinach in a smoothie or some berries in your morning cereal.
3. Buy in season. Fruits and veggies that are purchased at the peak of their season will be less costly.
4. Stock canned options, like corn, peas and carrots, for use in soups.
5. Add shredded veggies with neutral flavors, like zucchini and carrots, into baked goods like breads and muffins.

The post Is Organic Produce Actually Essential to Your Nutrition? appeared first on Dance Magazine.

“Honestly, I look back and it’s amazing how I got myself up every day after having obsessions and compulsions keep me up at night, and then finally being so exhausted that my body would just collapse at 3 am,” Loch remembers of the period he calls “his worst.”

At the end of the 2013–14 season, Loch decided to take a leave of absence from PNB to focus on recovering from OCD, and, since then, has become a voice of encouragement for others struggling with the disorder. “There is hope that it will get better,” he says. “I’m an example of that.”

What Is OCD?

OCD is characterized by repetitive, disturbing intrusive thoughts (obsessions) and actions­ aimed at getting rid of the thoughts (compulsions). Obsessions­ can be anything from a preoccupation with symmetry to a fear of harming yourself or your loved ones, and compulsions can range from repeatedly touching a certain object to mentally reviewing a specific situation. Because of the demanding nature of compulsions and the often-incessant presence of obsessions, OCD can quickly overwhelm a person’s life, often leading to difficulties with daily activities, socializing and/or working. It can sometimes be hard to spot or identify, making it more difficult to get appropriate treatment.

Navigating a Dance Career With OCD

Morgan Rondinelli, a dance instructor at Bloomington, Illinois’ McLean County Dance Association, says she first noticed OCD’s impact on her dancing when she was very young. “When I was little, I had this compulsion where everything had to feel even in my body, so if I turned once to the right, I had to turn once to the left,” she explains. “My right side was better, so I’d have to do extra practice on my left turns and pretend like I wasn’t losing my mind.”

Obsessions and compulsions are distressing enough on their own, but, according to therapist Madeline Ziegler, MA, MHC-LP, dance can sometimes exacerbate OCD symptoms. Ziegler, who uses they/them pronouns, works at Creativity Mental Health Counseling, a New York City–based practice that specializes in treating artists and performers. “When you’re obsessing over getting something to look perfect, or over the way you look, your thoughts are being confirmed by the people around you,” explains Ziegler, who has OCD in addition to treating it. They also say auditions can be especially triggering, given the added stress of striving for perfection and the increased pressure to avoid mistakes.

Loch says that on one occasion, OCD impacted his ability to get through a rehearsal. He recalls training for the USA International Ballet Competition with former PNB principal Karel Cruz: “Tears started falling down. Luckily, with him, I could be more open about this stuff; I definitely did have a moment that was so bad and the intrusive thoughts were so overwhelming to the senses that I couldn’t see through them.”

Treatment and Coping

Exposure and response prevention (ERP) is considered the most effective treatment for OCD. ERP involves deliberately exposing oneself to OCD triggers and working with a therapist to learn and practice healthy and effective coping mechanisms in place of compulsions. Because treatment is a very specific process, it requires time and commitment. It’s not uncommon for individuals to enroll in an intensive program (which can be inpatient, outpatient or virtual) when they first begin to seek help.
This may seem daunting for dancers, especially those with already demanding schedules. But, according to Ziegler, a leave of absence isn’t always necessary when seeking treatment, as long as the dancer doesn’t feel spread too thin and is able to focus on therapy. And, Ziegler says, dancers might even have a unique leg up on managing OCD because of their inherent discipline and perseverance. “Treatment for OCD takes a lot of resilience and mental strength,” they say. “That’s something dancers tend to have.”

Finding Respite in Movement

Despite the fact that some aspects of dance may aggravate OCD symptoms, many dancers say that class, rehearsal and performance actually become a welcome respite from their thoughts and compulsions. Additionally, getting regular exercise has been shown to improve mood and overall well-being.

“I’ll get to the end of class and be like, ‘Wow, I forgot what I was worried about an hour ago,’ Rondinelli says. “And I just had an hour of exercise and relaxation.” Loch adds that, because of the difficult feelings he battled during the height of his struggles with OCD, he’s been able to enhance his artistry through a stronger connection with the characters he portrays onstage. “I actually understand, now, deep suffering and sorrow, and that has helped me artistically,” he says. “I can share that and be able to understand that, so my artistic performance is better and reaches people in the audience more deeply.”

OCD Resources

For those who’ve been diagnosed or those who’d like to learn more:

International OCD Foundation: Learn more about OCD and connect­ with a therapist near you.
NOCD: Learn more about OCD, connect­ with an OCD specialist and with peers also going through treatment, attend virtual seminars.
Not Alone Notes: Co-founded by dance instructor Morgan Rondinell­i, the nonprofit mails words of encouragement to individuals­ dealing with OCD.

Books:
Talking Back to OCD, by John S. March, MD
The Self-Compassion Workbook for OCD, by Kimberley Quinlan, LMFT
Freedom from Obsessive-Compulsive Disorder, by Jonathan Grayson, PhD

The post Dancing With OCD appeared first on Dance Magazine.

Although Lawson’s daily diet consists of healthy, simple fare—roasted meat and vegetables—when it comes to dessert, she loves all things cream and custard. “The texture of a perfect crème brûlée is my happy place,” she says. Her custard bites, which she’s been developing for nearly two decades, score low on decadence and complexity and high on protein-content and ease. And like all things food for Lawson, there are endless variations. “Don’t stress the measurements too much, and feel free to experiment to your own taste,” she says, adding that the bites make a perfect high-energy snack for rehearsal the next day—if you manage to have any left over.

I’m on Tour and Don’t Have an Oven!

I have a kitchenette: Cook the mixture in a frying pan on a stovetop, like thick pancakes.
I have a microwave: Fill paper coffee cups halfway with the mixture; microwave until puffy and firm, between 45 and 85 seconds.

Makes 6–12 servings.
Takes about one hour to prep and bake.

Ingredients

• 12 eggs
• 1 cup plain, full-fat yogurt (For a creamier alternative, substitute 8 oz cream cheese and omit the fat below. For a dairy-free
version, try 8 oz soft tofu instead.)
• 1/4 cup coconut oil, butter or bacon grease
• 2/3 cup white or brown sugar (“You can up this to 1 cup for a sweeter bite, or decrease to 1/2 cup if you’re planning to top with caramel.”)
• 1 tbsp apple cider vinegar
• 1 cup almond meal (“Up this to 1 1/2 cups for a thicker bite,” says Lawson, adding that you can also use almond flour, which is more finely ground and will create a more cakelike product. If you have a nut allergy, substitute cornmeal.)
• 5 big pinches of salt (“Trust,” says Lawson of the quantity. Any type of salt will do—her greater concern is that people won’t use enough.)
• Flavoring suggestions (“Try any combination—go wild!”)

• Classic: 2 splashes of vanilla extract
• Classic and adult: 1–3 generous splashes of bourbon
• Spiced: Sprinklings of cardamom, cinnamon, nutmeg or Chinese five-spice
• Citrusy: Generous quantities of any citrus zest

Instructions

1. Butter or spray your pan: An 8-inch round, 9-inch square, cast-iron frying pan, silicone muffin pan or ramekins all work well. Note that the thickness of the custard will determine baking time. (If using cast iron, heat the pan on the stovetop first to get a fried layer on the bottom—this will aid in removing the finished bites.)
2. Preheat oven to 275°F.
3. Combine all ingredients in a large bowl and mix well.
4. Pour carefully into pan (Pro tip: Place the pan on the oven rack first, so you don’t have to lift it when full.) Bake for 30 minutes and then start checking every 5 minutes. You’re looking for the center to wobble gently, but not slosh. Test for doneness by inserting a knife into the custard. When it comes out mostly clean, remove the pan from the oven.
5. Let cool at least 10 minutes before turning out and cutting into squares.

Optional Toppings

Lawson’s custard bites provide the perfect base for the topping of your choice. Here are a few of her favorites.

Salted caramel: In a large pot, make a simple caramel with a couple of cups of sugar and a few splashes of water. When it gets to the soft-ball stage, throw in a stick of butter and stir until it settles down (or follow any online recipe). Add salt to taste. (“Go until you ask if it’s too salty, and then add a pinch more,” says Lawson.) Drizzle over top of cut squares, and finish with a sprinkle of Maldon Smoked Sea Salt.

Chocolate: Grate a little of your favorite dark chocolate over the top.

Fruit: Throw a dollop of jam on still-warm squares, and dig in. (“Be prepared to wash your face after,” jokes Lawson.)
Cream: Make plain whipped cream and top with berries or fresh mint. (“This is really gilding the lily—creamy goodness on creamy goodness.”)

The post Kinetic Light’s Laurel Lawson Shares Her Protein-Packed Custard Bites appeared first on Dance Magazine.

Come Prepared

Audition times are often different from when dancers are accustomed to taking class, because of limited studio space and faculty schedules. If your auditions are mainly held during lunchtimes and on weekends, then you’ll need to plan accordingly. Packable meals and snacks are key, with a priority in carbohydrate-rich ingredients. Carbohydrates are a preferred fuel source for a dancer’s body—especially when energy needs surge. Include high-fiber whole grains at breakfast to help sustain mid-morning energy.

If you’re commuting between studios, then prioritize convenience. Sandwiches and wraps are easy to prepare ahead of time and can be eaten on the go. Include a source of protein, like turkey or tofu, and a source of fat, like cheese or hummus. The balance in macronutrients will sustain your energy for longer periods. Lower-fiber snacks like pretzels and crackers are must-haves both during and after auditions to replenish the glycogen used during vigorous exercise. For an additional nutrient boost, pack fruit. You’ll gain a dose of vitamin C and a spectrum of antioxidants to help arm your immune system during the winter months.

Eat Proactively

If you’re struggling with pre-audition jitters, then chances are you’re also experiencing diminished hunger cues. Though it might be challenging, eating even without the presence of physical hunger will help to prevent early-onset fatigue from depleted glycogen stores. While every dancer’s individual needs are different, a balanced meal or snack is beneficial every few hours throughout your dance day. If you’re struggling to remember, then add a few alarms in your phone. This isn’t to strictly dictate when or what you should eat, but, rather, to serve as a helpful nudge for when you’re most vulnerable to unintentional under-fueling. To aid with stomach discomfort, stick to easily digestible and familiar options. Lower-fiber snacks like pretzels, Goldfish, and crackers or packable smoothies can help.

Practice Food Flexibility

Audition season is stressful, especially with the potential for summer study to turn into year-round school placement. Adding any degree of mealtime stress will limit your performance potential. Attempting to diet or striving for restrictive eating also makes it more difficult to adjust to the inevitable: changing schedules with limited access to familiar foods. Flexibility in your food choices alleviates the unnecessary stress often experienced from food rules. Remember: Calories are your energy currency, and they should come before food plans that are not only expensive but also impractical and unattainable.

Seek Support

If you’re continuing to feel overwhelmed with fatigue or struggling to fit the added snacks into your already packed schedule, then it’s time to consult with an expert. But where you get your nutrition advice from matters. A registered dietitian nutritionist can help dancers with performance fueling during times when schedules are challenging and nerves are rising.

The post 4 Tips for Constructing a Supportive Nutrition Plan During Audition Season appeared first on Dance Magazine.

Tap dancer Christopher Broughton is all about seasoning. “I can’t live without all of the spices,” says the Dorrance Dance company member. “My grandmother, when I watched her cook, just used a little bit of this and a little bit of that.” Broughton, who now lives with his wife and two dogs in Round Rock, Texas, and travels to and from New York City for rehearsals, taught himself to cook through a mixture of experimentation and necessity. “When I was first in New York, I didn’t have much money to spend on food, so I learned through trial and error, using whatever I had in my seasoning cabinet,” he says. Years later, that mentality has endured. “I’ve never been a recipe guy. I love to cook and do it every day. And if I don’t, then we don’t eat,” Broughton says with a chuckle.

Broughton’s oven-baked pork ribs are a favorite for holidays, game days or gatherings of family and friends. “It’s a dish that can feed multiple people, and it’s a very homey, feel-good meal” he says, adding that he sees sharing food as a chance to bring people together. “I like to make people smile on the stage, and it feels good to know that I can make their bellies smile, too.”

Super Sides

Broughton tends to pair his ribs with broccolini and mashed potatoes. Both recipes come together easily. “I steam broccolini in a splash or two of water with an Italian medley seasoning and a teaspoon of butter, and add salt to it afterwards.” For the mashed potatoes, Broughton prefers red Idaho potatoes for the color the skins provide. “Boil until they’re soft to the fork. Drain them, and then whip together with some heavy cream, butter and salt until you get the texture you like. You can also add garlic powder.”

Kitchen Quirks

“I use every spoon and every pot in the kitchen, no matter what I’m making,” says Broughton. “If I’m using a spoon or a spatula, I use it once and then it goes in the sink. I guess I like to use new things.” When cooking, Broughton likes to keep ESPN’s “SportsCenter” on in the background: “On mute or not, depending on who’s around.”

Ingredients

• 2 1/2-lb slab of baby back ribs
• 2 green apples
• 2 red onions
• 1 cup beef broth
• 2 cups barbecue sauce (Broughton vacillates between making his own and buying a bottle. His favorite brand is Sweet Baby Ray’s.)
• honey to taste (No matter which barbecue sauce Broughton’s working with, he adds a bit of honey to balance out the spiciness of the dish.)

Spice Rub:
• 1 tbsp salt
• 1/2 tsp garlic powder
• 1 tsp onion powder
• 1 tsp smoked paprika
• 1 tsp ground white pepper
• 1 tbsp brown sugar
• 1/2 tsp to 1 tablespoon ground cayenne pepper
• 1/2 tsp to 1 tbsp chili pepper (“It depends on how much of a kick you want,” says Broughton of both the cayenne and chili pepper.)
• 1 tbsp Montana Mex Sweet Seasoning Blend (If you can’t find Montana Mex in your local grocery, Broughton suggests order­ing online. Otherwise, a pinch of cinnamon or nutmeg will do.)
• 1 tbsp McCormick Grill Mates Smokehouse Maple Seasoning
• 1 tbsp McCormick Grill Mates Barbecue Seasoning

Directions

1. Preheat oven to 275°F.
2. For the spice rub, in a small bowl mix together all the dry seasonings.
3. Remove the thin, clear membrane covering the back of the rack of ribs. Slide a small paring knife under the membrane at one end of the ribs and separate until there’s enough to hold on to, then grip it with a paper towel. Use a paring knife or spoon to help you finish separating the membrane from the rack, pulling it back slowly.
4. Peel and quarter the onions, cutting the ends off first; quarter the apples.
5. Line a deep metal baking pan with aluminum foil, and lay alternating pieces of apple and onion in a row. Pour beef broth over the top.
6. Rub the dry-seasoning mix all over both sides of the ribs. Place the ribs, meat side up, on top of the apples and onions, using them as a bed for the meat. If necessary to fi t the rack, trim off a few ribs and arrange along the side.
7. Cover the pan tightly with aluminum foil and bake for 2 hours. Mix barbecue sauce with honey. Remove the ribs and, using a spoon, baste with half the sauce. Re-cover, and bake for another 1 1/2 to 2 hours, or until meat is very tender and falling off the bone. (“If you like a little chewiness, you can take them out at the 3 or 3 1/2-hour mark,” says Broughton, who himself waits until the meat shrinks and the bones start to stick out.)
8. Remove the ribs from the oven and turn on the broiler. While the broiler is heating up, remove the foil and baste the ribs generously with the juice from the bottom of the pan, removing any excess. Brush both sides of ribs with remaining barbecue sauce.
9. Broil for 5–7 minutes, just until the sauce begins to caramelize. Watch carefully to make sure they don’t burn.
10. Remove from the oven, lay the foil back over the ribs, and let them rest for 10 minutes before digging in!

The post Dorrance Dance’s Christopher Broughton Shares His Sweet and Zesty Oven-Baked Pork Ribs appeared first on Dance Magazine.

Now, experts are urging dancers of all genders to be aware of RED-S, which can be caused by chronic under-nutrition. Often, this happens by accident if you don’t realize how much or how often you should be eating, or it can be more intentional if you are worried about your weight or physical appearance. Regardless, these eating patterns can negatively affect dancers’ performance and be dangerous to their overall health. Here’s what you need to know.

What Is RED-S?

Put simply, RED-S happens when athletes don’t get enough energy from food to meet the demands of their training. The condition was renamed from the “female athlete triad” based on scientific evidence that it affects athletes of all genders and includes consequences beyond its three original elements.

“RED-S really affects every body system, beyond just menstrual and bone health. It can affect your heart, your digestion and your mental health,” says Monika Saigal, a registered dietitian who specializes in working with dancers and in the prevention and treatment of eating disorders. If you suspect you may be under-fueling, it’s something to take seriously because of the long-term health consequences, says Dr. Nicky Keay, exercise endocrinologist, dancer and author of the book Hormones, Health and Human Potential. “I know that dancers want, above all else, to be able to perform. But you have to have health in order to perform,” she says.

Signs and Symptoms

You might think that if you can make it through all your classes, rehearsals and performances, then there’s no way you could be experiencing RED-S. Unfortunately, that’s not true, says Keay. “From an evolutionary perspective, our bodies prioritize movement over all other requirements,” she explains. “If a saber-toothed tiger comes toward you, you want to be able to move fast and run away. So your body will use the energy you take in from your food, for example, to get through allégro in ballet class. But if you didn’t have much energy in the first place, then that’s going to eat away at the energy you need to just stay healthy.”

In fact, in the early stages of RED-S you may feel a false sense of energy, like a car running on fumes. “Don’t be fooled,” warns Keay. “It’s not a good idea to continue with the warning light on.” Because RED-S affects so many body systems, the symptoms can be varied and may be subtle at first, such as a general feeling of fatigue, an injury that just won’t heal, or mood changes, like increased anxiety and depression. More serious symptoms include hormonal changes, like an irregular or absent period or the loss of a morning erection. Stress fractures are another major sign, especially repeated ones.

If You Think You’ve Developed RED-S

First things first: Get in touch with your doctor, as well as a registered dietitian, who can give you personalized advice about what to eat and when, and help you identify and address factors that are contributing to under-fueling. Anything from a busy schedule to diet-culture–based misinformation about food to a lack of financial resources can be at play, says Saigal.

It’s also important to understand that every body is different. What works for a friend may not work for you, says Keay, even if you have identical schedules. Be honest with yourself about how much you’re eating, she says: “If you aren’t feeling right, do a check-through. Ask yourself: ‘Did I skip a snack between classes? Did I not have enough for breakfast?’ ”

According to Saigal, planning ahead is key. “There’s a difference between being intuitive and being strategic with your eating, and dancers often need a mix of both,” she says. “You may not be hungry during a break, but if your next break isn’t for several more hours, you need to eat anyway.” Look at your schedule, find opportunities to eat, and pack quick, easy snacks that you enjoy. Physical activity can also blunt hunger cues, so be aware that your level of hunger may not indicate the amount of nutrition you really need.

The post How Under-Fueling Can Lead to RED-S—Relative Energy Deficiency in Sport appeared first on Dance Magazine.

Lesley Rausch, principal dancer with Pacific Northwest Ballet, injured her neck back in 2013 while dancing Crystal Pite’s Emergence. During the piece, which involves sharp head and neck movements reminiscent of popping and isolation techniques in hip hop, Rausch remembers tweaking something in her neck.

“I finished the performance and danced the rest of the weekend, which was probably a mistake,” Rausch says. The rest of the program included Jiří Kylián’s Forgotten Land and Petite Mort, and the demanding upper body work exacerbated the pain and stiffness in her neck.

By the time Nutcracker rolled around three weeks later, turning felt unbearable and Rausch could barely support the weight of her head while sitting upright. She took time off, slept in a neck brace for months, and coped with debilitating migraines as a result of self-induced whiplash. Nearly 10 years of extensive rehab and physical therapy later, Rausch still counts this as “the worst injury that I’ve had in my career,” she says.

Some whiplash-type neck injuries can create forces that result in brain trauma. For example, a sudden extension or flexion in the neck can lead to a concussion, says Dr. Jeff Russell, PhD, associate professor of athletic training and researcher within the Science and Health in Artistic Performance Clinic at Ohio University. “When you whip your head, you’re rapidly accelerating and decelerating your brain,” he says. Contact to the head; falls, blows or forces to the body that transmit to the head; or whiplash-like motions can cause a concussion. “You don’t necessarily need to be hit to induce these forces to the brain,” explains Lauren McIntyre, a certified athletic trainer and clinical specialist at NYU Langone Health’s Harkness Center for Dance Injuries, who has studied concussions in dancers. “A lot of the work that we do is inducing forces to our brains—so it may not be something very impressive that does it,” McIntyre says. The nature of some choreography—particularly movements like head whipping, rolling and falling—may put dancers at an increased­ risk of sub-concussive head injuries, less severe impacts to the head that might not cause symptoms but may lower your threshold for concussions over time.

A concussion kicks off a cascade of neurophysiological changes that can impact your brain function and lead to symptoms that last days to weeks following an injury, McIntyre says. Some telltale signs are headache, dizziness, nausea, light and sound sensitivity, irritability, fatigue and balance issues.

Cognitive deficits like memory, focus and attention issues can also arise when you’re concussed. Symptoms are the best way to tell if you’re experiencing a concussion, but what’s tricky is that the signs and symptoms may not be exclusive to that injury, McIntyre says. “You could have a neck injury that feels like a concussion, or have low blood sugar and feel like you’re concussed,” she says. Even dancers who are highly attuned to their bodies can overlook the symptoms. When in doubt, if you fall or hit your head, it’s best to assume that the symptoms are from a concussion until you can get cleared by a health care provider, she says.

It’s important to get a concussion diagnosis right away so you can start treatment. Someone with a concussion usually has to rest for a period (of around 24 to 48 hours) and steer clear of stimuli that could impede the brain’s healing process. It’s okay to engage in daily activities following a concussion (like doing the dishes, talking with a friend or listening to a podcast), so long as you can tolerate it without exacerbating symptoms, McIntyre says. Connecting with a health care provider­ who’s well-versed in concussion treatment is essential, so they can help you gradually progress back to regular activity, Russell says.

With a proper diagnosis and treatment, most people fully recover from concussions in 10 to 14 days, which might sound like an eternity for a dancer.

Once you have one concussion, you’re more susceptible to having another one—and getting a concussion while still healing from one (“second impact syndrome”) can be deadly, Russell says. “The likelihood that you’re going to have more problems older in age increases if you’ve had a series of concussions that haven’t been taken care of properly,” he says.
Another big risk of leaving a concussion untreated is hurting something else in your body, says McIntyre. “If you’re not as focused, or you’re having balance issues, you’re more likely to injure something else,” she says.

With short careers and steep competition, there’s a common mentality in the dance world that you have to dance through an injury. But jumping back into activity after a concussion will slow down the healing process and potentially jeopardize your health in the long-term. “People need to understand­ that with a concussion your brain is literally injured,” Russell says. “You only get one brain, so you need to take really good care of it.”

8 Signs You Could Have a Concussion

Learn to recognize the symptoms:
• headache
• dizziness
• nausea
• light sensitivity
• sound sensitivity
• irritability
• confusion
• balance issues

The post Common Head and Neck Injuries Dancers Need to Take Seriously appeared first on Dance Magazine.

One of Miller’s favorite parts of cooking is trying new recipes. “It’s relatable to the New York City Ballet, because we do such an abundance of rep,” she says. “I think I’d get bored if I was doing the same thing over and over again. During our seasons, I’ll perform a different ballet every night, which is similar to the way that I like to cook.”

Hostess or Curator?

Though during the week Miller cooks just for herself and her boyfriend, she hosts guests for meals whenever she can. “For me, the fun of cooking is preparing a meal for friends and curating something that is applicable to their tastes,” she says. During the holidays, she squeezes up to six in her small New York City kitchen for dinner parties, preparing many dishes all day. She also loves creating themed menus: “If I were to travel to Italy and have an amazing experience at a restaurant, it would be a feat for me to try and re-create the things I loved there. Or to make a meal of all of my grandmother’s recipes. They’re odes to past memories.”

Air Fryer Fanatic

Miller can’t get enough of her recently acquired air fryer. “I finally pulled the trigger on it,” she says. “It was hyped for so long, and now I understand why.” So far she’s used it most successfully for fish and chips, chicken, potatoes, crispy tofu, Brussels sprouts and other veggies. “It’s so efficient! You just throw every­thing in the basket and spray with a little avocado oil and get the crispiest foods.”

Ingredients

Vinaigrette
• 1/3 cup extra-virgin olive oil
• 1/4 cup apple cider vinegar
• 1 tbsp maple syrup
• 1 tbsp Dijon or spicy brown mustard
• 2 tsps salt
• 2 tsps ground pepper
• 1 tsp ground cumin
• 1/2 tsp ground coriander
• 1/4 tsp cayenne pepper
• 1/4 tsp ground cloves
• 1/4 tsp nutmeg
• 1/4 tsp cinnamon

Salad
• 1 lb (2 1/4 cups) dried black lentils
• 1 medium red onion (finely diced)
• 1 cup diced dried fruit of choice (You can try currants, raisins, figs or dates. Miller tends to go for chopped dates.)
• 1/3 cup chopped capers
• handful of fresh herbs, such as parsley, cilantro, basil or mint
• roughly 1 cup crumbled goat cheese or feta (to your liking)
• a few handfuls of greens (Miller likes to use arugula, but baby kale or spinach will also work.)

Optional Add-Ins
“This recipe is easily adapted to whatever you have on hand or is seasonably available,” says Miller. “Use the dressed lentils as a foundation, and then get creative with your add-ins, experimenting with different flavor combinations!”

• Nuts and seeds: Chopped walnuts, pistachios, pecans or pumpkin seeds
• Fresh fruit: Pomegranate seeds or diced apples
• Veggies: Finely chopped cucum­bers, fresh tomatoes, olives, artichoke hearts, sun-dried tomatoes, sweet potatoes or any roasted vegetables

Directions

1. Rinse and drain the lentils, then cook according to package directions. Check for doneness a bit early, as the lentils should be al dente, retaining a slight firmness.
2. While the lentils simmer, place all vinaigrette ingredients in a mason jar with a tight-fitting lid and shake until fully combined. Set aside. (“If you don’t have one of the spices, don’t worry about it,” says Miller. “I’ve made it without coriander many times and don’t miss it. The dressing is still super-flavorful and delicious!”)
3. Prepare the remaining salad ingredients and any extra add-ins you’d like. All ingredients should be roughly the same size, so finely dice the onion and chop the dried fruit, capers and any nuts, fresh fruits or veggies you decide to use.
4. Once the lentils are finished cooking, remove from heat, drain and rinse with cold water. Let cool slightly, then place in a large bowl. Give the vinaigrette another quick shake, then pour over the lentils and toss to combine. Add the onion, dried fruit, capers and any other add-ins to the bowl of lentils and mix together with a large spoon. Just before serving, tear the fresh herbs over the top and sprinkle with the crumbled cheese. If using greens, you can either mix them into the salad or place them in a separate bowl and top with the lentil salad.

Tip: The lentil salad can be stored in the fridge for several days. In fact, Miller believes that it gets tastier after 24 hours, once the flavors have had a chance to meld. But the greens and herbs can get soggy, so it’s best to prepare them separately before enjoying each serving.

The post New York City Ballet Soloist Miriam Miller Shares Her Leftover-Friendly Lentil Salad Recipe appeared first on Dance Magazine.

What Is Fascia?

“Fascia is the main connective tissue in the body,” says Amanda Oswald, a myofascial release specialist who runs Pain Care Clinic in the UK. “It wraps around and through all structures, including muscles, nerves, blood vessels, bones, joints and organs.”

What Is Myofascial Release?

A bodywork technique that involves massaging, kneading and stretching muscles (“myo-”) and fascia, myofascial release aims to reduce the tension that results from pain or tightness in the body. “Unlike hands-on therapies that work with the musculo-skeletal system, myofascial release works to release restrictions that have formed in the fascia,” says Oswald. “Fascia is a slow-releasing­ tissue, and the therapy is accordingly slow and gentle, even though it works very deeply into the body.”

Improving Flexibility

Even minor injuries that seem to heal on their own and are quickly forgotten can lead to fascial restrictions and a resulting loss of flexibility. With each restriction, the body creates compensation patterns that can result in imbalance, which progressively leads to stiffness and pain. “An ankle sprain can lead over time to imbalance in the way you use your legs, and then affects the balance of your pelvis,” says Oswald. “You may be totally unaware of these changes but wonder why you have developed­ tight hamstrings.” A combination of regular myofascial release treatment and self-help exercises can progressively release restrictions, with the goals of improving balance and flexibility and reducing pain.

Fascia Release Exercises

Stretching: Unlike muscle stretches that last for 20 to 30 seconds, a fascial stretch needs to last for at least 90 seconds. This is because fascia is a slower-releasing tissue. Start by holding each stretch for 90 seconds to 2 minutes, using a timer to help. (Over time, you will be able to extend the stretch for longer—up to 5 minutes or more.) You only need to do each stretch once. Go into each stretch progressively, waiting when you feel a sense of resistance until your body loosens. As fascia releases, so do all of the tissues contained within it, so you are also stretching your muscles at the same time.

Ball Exercises: You can use an inflatable myofascial ball, a tennis ball or another type of ball. Lie or lean against the ball for at least 90 seconds to allow time for the fascia to release, using static pressure. You may feel a slight intensifying of sensations before they begin to abate. Don’t worry if you don’t feel any changes at first; if you have been in one place for at least 90 seconds, then the fascia will have started to release, but sometimes it takes a few exercises before you start to notice any difference. If any of these exercises make your symptoms worse, stop!

Try It Out

Ball on side of hips
Lie on your side on the floor or your bed and place the ball on the side of your hip. It should rest on the muscles at the top of your hip or any tender spots you find. You can also do this leaning on the ball against a wall. Repeat on other side.

Ball on calf
Sit on the floor with your legs straight out in front of you and your back supported. Place a ball under your calf and allow your leg to relax around it. You can move the ball to different spots that feel tender or sore. Repeat on other side.

Front of hips stretch
The easiest way to do this is to lie on your bed or a sturdy table and drop one leg off—keep your leg relaxed even if your foot is touching the floor. Repeat on other side.

Spine roll-down
Starting at the top, tip your head forwards and imagine the vertebrae in your neck and back slowly rolling forwards and down, one at a time. Roll down as far as is comfortable and allow your body to relax. To come back up, start by stacking your bottom vertebrae one on top of another, bringing your head up last.

The post How Myofascial Release Can Improve Your Flexibility appeared first on Dance Magazine.

To move productively through a busy winter performance season, consider these four tips.

Eat Enough

Hunger cues often go unnoticed by dancers, especially when schedules become saturated with performances and holiday plans. While you might not immediately notice the negative implications of eating too few meals or snacks each day, you’re likely to be left with diminished energy reserves and appetite dysregulation. This can ultimately cause extreme hunger cues at points later in the day and, with the holidays approaching, can lead to eating past a point of physical comfort. Simply put, eating solely when you feel hungry isn’t going to support a rigorous performance schedule. Instead, construct a proactive fueling plan. This means eating meals and/or snacks regularly throughout the day—every two to four hours is a general recommendation.

Focus on Timing

Though your day-to-day is likely to feel a bit micromanaged this time of year, the timing of meals and snacks can make the difference between feeling energized versus feeling sluggish onstage. Carbohydrates are your body’s preferred fuel source. But the type of carbohydrates you choose, and when you choose to eat them, will make a difference. Complex carbohydrates from sources like whole grains, whole-grain breads and fibrous winter veggies offer more sustained energy levels to support longer periods of dancing. As you get closer to curtain call, you’ll want to prioritize easily digestible carbs from foods like cereals, pretzels and fruit. These options will help to top off energy stores for your body to utilize onstage.

Prioritize Recovery

Winter performance schedules can be grueling, leaving little time for rest and recovery. When possible, take advantage of days off. But even on days when you’re less active, you’ll still need to fuel sufficiently: Temptations to fight a natural rise in hunger cues can risk your nutrition status and challenge your relationship with food. Consider using rest days as an opportunity to make up for nutrient gaps that might crop up during performance days. Experiment with new recipes that aim for a balance of the three macronutrients—carbs, protein and fat, and, when feasible, include colorful fruits and veggies. This combination will offer protein to support muscle synthesis, carbohydrates to replenish muscle glycogen, and anti-inflammatory agents to support metabolic demands. With a little planning, you can also prepare nutritional options that are easily packable for the week ahead. Meal prep doesn’t have to be complex—but the added effort can provide you with a variety of balanced meals and snacks.

Swap Self-Control With Self-Care

A full performance schedule during the holiday season often leaves dancers little spare time. The predictability of a regimented routine can offer a sense of comfort, but it can also run the risk of tempting performers to strive for heightened levels of control, both around their schedules and their eating routines. Instead, consider the function of food in supporting your dancing capabilities. Nourishing your body with regular meals and snacks is a form of self-care, along with experiences like eating at cast parties and enjoying holiday meals. Striving for guilt-free permission to partake in these opportunities will support your longevity as a dancer and your well-being as a person.

The post How to Fuel for Peak Performance During the Holiday Season appeared first on Dance Magazine.

That is, until now.

Today we are talking about nutrition. An emotionally charged subject for most dancers, including myself. When I was young my dance teacher said I could do anything in the dance industry, so long as I kept my weight down. It was a thought that festered throughout my adolescence, and was later inflamed by the artistic director of my first professional dance job saying, “I love everything about you, you’re perfect for my company, but I need you to lose 10 pounds.”

Needless to say, my view of my body and the way I went about trying to alter it was not exactly healthy.

But then I got sick, and I was so inflamed that every part of me was as swollen as a bad sprained ankle. It didn’t matter what I ate or how I exercised, I had no control over my size.

For a long time it was agony—my worst nightmare coming true. But, eventually, it all became less important. There were pressing things to consider, like alleviating physical pain, falling in love, finding a way to live despite my circumstances. During that time I won some hard-earned battles against society and dance culture, and eventually saw myself as more than just a body of a certain size.

So you can imagine the concern I’ve felt returning to rooms where people talk about their latest diets, as teachers compliment them on how thin they are, and I stare directly into the mirror. I have a long life to live, and I don’t want my energy to revolve around restricting and shrinking myself. Still, I recognize there are some holes in my nutrition. I’ve been feeling shaky, and need some help fueling my body so I can stay energized and focused for long hours of class and rehearsal.

So, I reached out to Rachel Fine, a registered dietitian nutritionist who specializes in dancer health and wellness. I’d seen her videos on YouTube, read her thoughts in various Dance Magazine articles, and loved her balanced, science-based perspective.

We hopped on a video call for an interview and she shared an incredible trove of information. I highly recommend watching the full interview on Dance Magazine’s YouTube channel. Here are a few of her recommendations:

1. When it comes to nutrition advice, make sure you’re relying on a registered dietitian.

“We are licensed to understand the research and translate it in a way that makes sense and doesn’t become something where food is feared,” Rachel says.

Note: According to Rachel, the word “nutritionist” is not a regulated term. Anyone can claim the title. Make sure you are working with a registered dietitian nutritionist specifically, so you can feel confident the advice you’re getting is supported by research.

2. Avoid the temptation to label foods as good or bad. Instead, seek out what Fine calls “food neutrality.”

 “The tools I provide my dancers with are food neutrality, food flexibility, and resilience to societal messages. Diet culture likes to glorify some foods and demonize others. When we do this, we don’t end up eating foods that are deemed ‘healthy foods’ and feel great about it. Instead, we feel a lot of food guilt. Nutrition information can guide our choices, but it should never dictate our choices.”

3. Here’s what food neutrality looks like in action:

“If I’m walking into a two-hour rehearsal, I need energy to last,” she says. “I love sweets, but I’m not sure they’re going to serve me right now. I’m going to save that for when I have 15 minutes left in the rehearsal and I need a quick pick-me-up. For now, I will choose the option that is more nutrient-dense with a little bit more fiber to help me feel more energized for the longer bout of dancing. I’m not choosing it because candy is bad and fruit is good. I’m choosing it to fit my current needs.”

4. Not all of your food needs to be super–nutrient-dense.

“Your dessert doesn’t have to be this fibrous, nutrient-dense, protein superstar,” she says. “Dessert can just be fun when you want it to be fun. The role of nutrition in food for physical health is huge, but food can support us emotionally and mentally, too.”

5. Dancers need carbs!

“Dancers work at such an intense level, we need more carbohydrates,” she says. “The baseline for carbs within diet culture is set way too low. If your energy is not up to par in class, the first thing I am going to look at is, are you getting enough carbohydrates?”

Rachel’s wisdom went far beyond these five recommendations, and I’m excited to apply her advice in my own life. To discover more of her work, check out her websites dancenutrition.com and pointenutrition.com, and find her on Instagram and TikTok.

Thank you again for following along! Until next time!

The post Begin Again: Fueling My Body appeared first on Dance Magazine.

Turkey

The centerpiece of most Thanksgiving tables, turkey is a nutrition powerhouse. In every ounce, you’ll get approximately­ 8 grams of protein and an abundance of vitamins and minerals, including B vitamins, which the body uses for energy production, and the immune-boosting minerals zinc and selenium. Turkey is also a good source of tryptophan, an essential amino acid for making proteins and serotonin, a neurotransmitter that impacts mood.

White and dark meats are equally nutritious choices. While white meat has been touted as the healthier choice because it has slightly less fat and calories than dark meat, the differences are minimal—it’s more a matter of which you enjoy more. White meat provides slightly more protein but less B vitamins per ounce; dark meat provides more essential minerals, including zinc, selenium, calcium and iron, which are nutrients lacking in many dancers’ diets.

Potatoes

Potatoes get a bad rap, but they don’t deserve it. White potatoes are a fantastic source of carbohydrates, fiber and resistant starch. Resistant starch feeds the friendly bacteria in your gut and increases the production of short-chain fatty acids, which play a role in gut health and blood-sugar management. In addition, a medium potato provides around 25 percent of the RDA for vitamin C and potassium. 

Different potato preparations have additional benefits: Mashed potatoes include fat from milk and butter that increases satiety; boiled and baked potatoes are easy to digest and provide quick energy; and adding salt to your potatoes helps replenish the electrolytes lost in sweat.

Cranberries

Judging by the nutrition label, cranberries aren’t very impressive; they’re 90 percent water, and the rest is primarily fiber and some carbohydrates. But they’re secret nutrition powerhouses, rich in potent plant compounds like myricetin and peonidin. Myricetin is a strong antioxidant that scavenges free radicals—unstable molecules that can build up in cells and damage DNA and proteins—to provide anti-cancer, anti-inflammatory, immunity-boosting and even pain-relieving properties. Peonidin is a member of the group of antioxidants called anthocyanins, which may control inflammation and improve metabolism. Want to pick up choreography faster? Peonidin promotes neuroplasticity, allowing learning and memory to work properly. 

Pumpkin 

Pumpkin is packed with nutrients that support your immune­ system, which is especially important during the winter performance season. One cup of cooked pumpkin has just 50 calories but provides 245 percent of the RDA for vitamin A, plus vitamins C and E, iron and folate. Pumpkin also has 11 percent of RDA for copper and manganese, which are required for bone health. It’s also a good source of lutein and zeaxanthin, which may promote eye health. Pumpkin is versatile and can be baked from scratch or used from a can—it’s equally nutritious. Add it to overnight oats, smoothies, soups, stews and baked goods like muffins and energy bars. 

A Slice of Joy

Pumpkin pie is synonymous with Thanksgiving and can fit into any dancer’s meal plan. An average slice of pumpkin pie is around 250 calories and, in addition to the array of vitamins and minerals in the pumpkin, it provides protein, calcium and joy. 

Kristin’s Easy Cranberry Sauce

For tart-sweet flavor and a nutrient boost, add this cranberry sauce to roast turkey or chicken, sandwiches, mashed or baked potatoes, toast and more.

Makes eight 1/4-cup servings

• 1 cup water
• 1 cup maple syrup
• 3 cups fresh or frozen cranberries

1. Combine water and maple syrup in a saucepan and bring to a boil.
2. Add cranberries and cook until they burst and soften, about 20 to 25 minutes. Let cool before serving.

The post The Health Benefits of Your Favorite Thanksgiving Foods appeared first on Dance Magazine.

Charlene “Chi-Chi” Smith’s Mexican corn bread is so well known among her friends and family that it’s developed its own nickname: “MCB.” The Ladies of Hip-Hop Dance Collective member and LOHH trustee has been making this recipe for nearly 20 years. Her shortcut version is an adaptation of a family friend’s original. To cut down on time, Smith uses boxed corn-muffin mix and canned cream-style corn rather than making those elements from scratch. She’s also replaced beef with turkey. “I have not met a person who does not love it,” says Smith, adding that MCB can stand alone as a main dish alongside a salad, or work as a side to a larger meal. “When I make it, my husband and I eat it two or three times a day until it’s gone.”

Smith, who also teaches hip hop and vernacular jazz at Pace University and at studios across New York and New Jersey and works with the Double Dutch Dreamz training program, credits her approach to cooking to her dual upbringing with both her mom in the Bronx and aunt in Maryland. Both women’s influences are clear in Smith’s approach to seasoning. “I believe that Black people as a whole had to make things taste good because we were given scraps,” she says. “It’s in our cellular memory to make flavor out of anything. Even though my mom and my grandmother were from the North, we use cooking styles and flavorings from Louisiana and those earlier settlements of our people.”

Kitchen Playlist

For Smith, cooking is often a fast-paced activity. After a long day of teaching and rehearsing, she works quickly to get dinner on the table in order to get her 4-year-old in bed on time. And the music she listens to in the kitchen reflects her speed. “Sometimes I’ll play dance-party music and jam while I’m cooking,” says Smith. “But when I’m baking, I like to listen to jazz.”

Ingredients

• 1 lb ground turkey (You can substitute any other ground meat or meat substitute that suits your preference, or omit the meat entirely.)
• 2 8.5-oz boxes corn-muffin mix (Smith prefers Jiffy Vegetarian Corn Muffin Mix because there’s no pork in it, but any brand will work.)
• 2 14.75-oz cans cream-style corn
• 2 4.5-oz cans chopped green chiles (Smith likes Old El Paso brand best.)
• 16-oz tub sour cream
• 1/4 cup taco seasoning mix
• 2/3 cup water
• 8 oz shredded cheddar or Mexican-style cheese blend (Smith buys block cheese and shreds it herself.)

Directions

1. Preheat oven to 350°F.
2. Brown ground turkey in a heated skillet over medium heat, breaking up and stirring occasionally for even cooking.
3. As the meat cooks, combine corn-muffin mix, corn, chopped green chiles and sour cream in a large bowl. Mix well.
4. Once the meat is browned, add the taco seasoning and 2/3 cup of water and continue to cook until the color is even throughout. Remove from heat.
5. Prepare a 13x9x2–inch nonstick baking pan by lining it with parchment paper or spraying lightly with cooking oil.
6. Pour 3/4 of the corn bread mixture into the baking pan. Next add the turkey in a layer, followed by the cheese. Top with the remaining corn bread mixture.
7. Bake uncovered for about an hour, until the top is split and the color on the surface is close to a toasted yellow-orange.
8. Let stand for 10–15 minutes before digging in. The corn bread solidifies as it cools.

The post Charlene “Chi-Chi” Smith of Ladies of Hip-Hop Dance Collective Shares Her Tried-and-True Mexican Corn Bread Recipe appeared first on Dance Magazine.

Take the health of your feet into your own hands with a combination of strength work and soft-tissue care. Stronger feet can more easily withstand the load of the body, while soft-tissue work promotes healing and recovery from the stress of dancing. Adapted from training for other high-impact sports that involve sharp changes of direction, explosive movements and impacts, these exercises are designed to improve foot stability, power and function so you can perform better no matter what shoes you dance in.

Start by adding one strength exercise and one soft-tissue treatment to your routine, performing them three times per week. Change the exercises every three to four weeks. Do them on a regular basis to maintain the results.

Foot Strengthening

Short Foot

Good For: Foot, ankle, knee and hip stability

In a seated position, with both feet flat on the floor, pull the heel towards the front of the foot, creating a strong contraction through the arch and keeping the toes on the ground. Relax heel back to starting position, repeat. Build to 2–3 sets of 8–20 reps per foot.

Elevated Towel Toe Curls

Good For: Toe joint function, tendon strength, fascial strength and force transfer

In a standing position, place one foot on a towel with the heel at a 45-degree elevation (demi-pointe). Firmly grab and pull the towel with the toes while the heel remains elevated. Relax toes, repeat. Start with one 60-second set and build to 2 sets of 2–5 minutes per foot.

Multidirectional Deadlift

Good For: Lower-body joint tracking, medial leg strength and ankle, knee and hip stability

Standing on one leg, and bending the knee of the floating leg, hinge at the hips and reach straight down with the same-side arm towards an object in front of the body. Return to the upright position. Then reach down towards the inside of the object and return to the upright position. Hinge again, reaching down with the opposite hand to the outside of the object, and return to the upright position. This completes one rep. Work up to 2–3 sets of 4–7 reps per side.

Big Toe Abduction

Good For: Ankle, knee and hip stability and medial leg strength

In a standing position, keep feet flat on the floor. Isolate the big toe toward midline of the body. Bring the big toe back to starting position, repeat. Keep other toes flat when moving the big toe. Build to 2–3 sets of 12–15 reps per side.

Soft-Tissue Care

Lacrosse Ball/Tennis Ball

Good for: Stress and tension relief in the foot, joints and leg muscles

While standing, roll foot over ball, exploring different areas at the bottom of the foot to find sensitive spots. Apply tolerable pressure—back off if you feel pain—and gently increase pressure by adjusting to release trigger points. Build up to 2 sets of 2–3 minutes per side.

Silicone Toe Spacers

Good for: Realignment of toes restrained by footwear, coordination, reaction time of feet and lower-body stability

Begin wearing for 10 minutes a day barefoot while performing normal activities at home. Gradually increase up to 60 minutes per day.

Reflexology/Foot Massage

Good For: Targeted stress and tension relief

For acute stress, like after a performance or dance battle, a trained massage therapist or reflexology practitioner can help release tight tissues so that feet can recover. A monthly treatment is ideal for maintaining foot health and preventing fatigue.

The post Cross-Train Your Feet With Targeted Exercises For Any Style appeared first on Dance Magazine.

The Nourished Dancer

During the pandemic, Sabella turned the focus of her health coaching business, The Nourished Dancer, to working primarily with dancers. “For me personally, it’s been very healing to learn about nutrition and wellness from a non-diet perspective,” she says.

Current Kitchen Playlist

Mark Morris is a choreographer long lauded for his musicality. So it’s only fitting that Sabella, who’s been performing with his company since 2013, always cooks with music on. “Especially if I’m alone, it makes it such a fun experience,” she says. “Lately it’s been a lot of blues and soul and some Motown—anything that feels soulful.”

Ingredients

• 2 15.5 oz cans of garbanzo beans/chickpeas
• 2 medium or 1 large garlic clove, minced
• 1/8 white onion, finely chopped
• 2 tbsps fresh herbs, finely chopped (any combination of parsley, cilantro or dill is recommended)
• 2 tsps salt
• 1/2 tsp black pepper
• 1 tsp coriander
• 1 tsp cumin
• 1/8 tsp onion powder
• 1/8 tsp garlic powder
• 2 free-range large eggs
• 2 1/2 tbsps coconut flour
• enough extra-virgin olive oil (coconut and/or avocado oil can also be used) to coat the frying pan by 1/8-inch

Directions

1. Empty the garbanzo beans into a strainer. Rinse the beans and let them dry.
2. In a large bowl, combine the garbanzo beans, garlic, onion, herbs, spices and eggs.
3. Mash mixture with hands until the garbanzo beans are 90 percent mashed. (This may be a good time to take out some aggression!)
4. Add the coconut flour. Combine and mash mixture again.
5. Form the garbanzo mixture into 1-inch patties and place on a large plate.
6. Heat an extra-large skillet to high heat.
7. Add 1/8-inch of olive oil to the skillet and allow to heat up.
8. Place patties in the skillet. Allow to cook for 4 minutes. Then flip patties, lower heat to medium and cook for 4 more minutes.
9. While patties are cooking, prepare a surface with a towel (either cloth or paper towel) to absorb oil from frying.
10. Place patties on the towel. Let cool for 1–2 minutes.
11. Patties are now ready to serve with traditional tzatziki or your
    personal favorite dipping sauce!

The post Mark Morris Dance Group’s Nicole Sabella Shares Her Mediterranean Chickpea Patty Recipe appeared first on Dance Magazine.

Calcium and Iron

Calcium is necessary for bone strength, nerve conduction and muscle contraction, and you can find it in beet greens, bok choy, collards, kale, spinach and Swiss chard. Certain plant compounds, including oxalic acid, phytic acid and caffeine, can
reduce how much of that calcium your body absorbs, but studies show that when you eat a wide variety of foods overall, they have little consequence on overall calcium status.

Iron is essential for red blood cell formation, and a deficiency can lead to GI issues, fatigue, weakness and dizziness. Leafy greens that are a reliable form of iron include spinach and kale, but iron from plant foods isn’t absorbed efficiently—pair your greens with meats or vitamin C–rich foods like bell peppers, broccoli, kiwi, oranges or tomatoes to maximize absorption.

Key Vitamins

Most leafy greens are good sources of vitamins like A, C, K and folate, which boost countless functions in your brain and body. For example, folate is required for red blood cell formation and is critical for neurologic health and cognitive function; if you struggle with brain fog or mood issues, more folate may help. Vitamins A and C support immune health and play a role in forming collagen, which is the foundation of connective tissue like ligaments, tendons, cartilage and the matrix of bones. Vitamin K also supports healthy bones and is necessary for blood clotting.

Cooked vs. Raw

Raw greens tend to offer more vitamins A and C, because these nutrients can be damaged or drained away by cooking. On the other hand, cooking leafy greens and other vegetables increases the availability of antioxidants, including lutein and lycopene;­ cooked greens also provide more nutrition simply because cooking reduces­ their volume, making it easier to eat more in one sitting. For example, a pound (10 to 12 cups) of raw spinach will cook down to one cup of cooked spinach—and offers 18 percent of the RDA for calcium, 36 percent of the RDA for iron and 38 percent of the RDA for magnesium. Including a mix of cooked and raw greens in your diet is the best way to go.

Pro Tips

Maximize your nutrient intake and utilization by including foods from multiple food groups at each meal.
• Leafy greens are rich in the fat-soluble vitamins A and K—enjoy greens with olive oil, avocado or other healthy fats to enhance your absorption.
• Add fresh greens to pastas, salads and smoothies.
• Add chopped, cooked greens to Buddha bowls that include grains and protein.
• Stir a cup of minced greens into stews or casseroles.
• If you find greens too bitter, try adding salt or salty ingredients like bacon or olives to tame the flavor—or try them with a sprinkle of sugar, fresh or dried fruit, or a drizzle of honey.

Calcium vs. Iron?

If you’ve been told to separate calcium supplements from iron supplements to maximize their benefits, you may wonder if you need to keep iron-rich foods separate from calcium-rich foods. The answer is no. In fact, recent research indicates that when you get nutrients from whole-food sources (rather than from supplements), the competition for absorption is minimal.

Use the Whole Plant

When you buy beets, carrots, turnips and radishes, don’t throw the greens away—they are dense in nutrients. Enjoy them cooked or raw, and get creative. For example, when you add sliced radishes to salads, throw in some finely chopped radish greens along with them.

The post How to Make the Most of Leafy Greens appeared first on Dance Magazine.