Dealing with casting in dance can be a challenge…

We’ve all been there. The cast sheet goes up and you walk over feeling hopeful. Then, you read the list and are totally disappointed with your roles.

At just about every level, dancers experience the doubt and insecurity that comes with casting decisions by artistic staff. Dealing with this can be difficult.

As you move along as a dancer from pre-professional training to (sometimes) college to company life, casting sheets can be a big source of anxiety.

All too often, we begin to quantify our value based on what roles are bestowed upon us.

Managing casting, friendships, and comparison.

In college, my best friend Alice was consistently cast in better roles than me. Beyond being close friends, we were the same height with similar body shapes. It got to a point where I expected that outcome and reinforced the story in my head: “She’s just better than me, there’s really nothing I can do about it.”

When we started auditioning for companies, I began to realize that I was basing my thoughts about myself on the opinions of one group of people: my college professors. What I failed to notice is that the artistic staff at every company Alice and I auditioned for assessed our abilities in totally different ways.

When they made cuts throughout auditions, we were rarely kept for the same length of time. Sometimes she made it to the end, and sometimes I did. We each got different offers. I finally realized that while we were the same height with similar body types, we were different people and had different strengths.

Feel empowered even when you’re unhappy with your roles.

Even if you work to cultivate a healthy perspective shift when it comes to your strengths, you may still face casting disappointment. That’s when it’s important to take your power back and boost your confidence. 

Boost confidence before the cast list goes up.

Dancers tend to see what’s wrong. For many years, or even decades, you’ve been training your brain to use the mirror as a tool to tell you what you need to fix. Rarely does a dancer look in the mirror with joy and admiration for what they’re capable of.

That’s a great place to start…

The next time you’re in class or rehearsal, rather than constantly nitpicking, make it your goal to pick out the things you’re doing well. Where’s the beauty in your movement? What is unique about you?

Recently, a client was telling me that she just didn’t have anything that might draw someone’s eye. When we discussed it further, she was able to connect with the fact that she is a unique person and has a unique joy for dance that she can communicate through her movement. 

Connecting with your joy for dance is what gives you that intangible quality that is enjoyable to watch. 

Remember that every role, no matter how small, is an opportunity to grow.

It sounds cheesy, but it’s true. Are you playing the maid in the Nutcracker? Even that small part can have a story. How will you convey that story to the audience? How can you make this character role your own? Is there a way to hone some acting skills?

Use this as an opportunity to start a discussion.

If you’re disappointed with the casting decisions, you can use this as an opportunity to start a discussion on your growth. Set up a meeting with someone on the artistic staff who you trust and know has your best interest at heart.

Ask them if there’s something more you could or should be doing to improve. Is there a way they’d like to see you develop technically or artistically that would lead to bigger roles or more responsibility? 

Having these talks can be scary, but they can also bring to light things you would have otherwise stayed in the dark about. It also might lead to more opportunities. Consider asking to understudy something you weren’t originally cast to understudy.

Reassess the energy you bring to the studio.

Are you too comfortable in your current environment? Are you relying too heavily on your talent or facility and not taking things to the next level on your own? Would you benefit from setting more goals around your dancing?

Remember that you can’t control the roles and opportunities you’re given, but you can control the energy you bring with you. Casting may be out of your hands, but the work you put in is very much up to you. Start approaching your corrections with more fervor and focus, and see if things shift.

Create supportive routines to facilitate your best dancing.

Making adjustments to your approach to food or cross-training could have a huge positive impact. These adjustments are not about changing how you look, but rather, they’re about increasing your confidence so you dance more freely.

Some food swaps and cross-training switch-ups can make a big impact on how you perform. Have you started relying on too much sugar or caffeine for energy? Instead, put some attention on increasing the length and quality of your sleep. Incorporate lots of simple and complex carbs for consistent energy throughout the day.

If you’ve been doing the same cross-training for years, you might benefit from trying something new. Experiment with weight training or employ a trainer who works with dancers to see if there’s a weakness you haven’t addressed.

Taking better care of yourself will give you a better experience in your dancing regardless of casting. 

You might not be dancing at the best company for you.

If you’ve been plugging away at the same company for a few years and haven’t been getting the response you had hoped for or the roles you were promised, it might be time to move on. I’d encourage you to open up a conversation first, but then be willing to accept that maybe you haven’t found the right fit yet.

Be honest with yourself about the company environment you’re in. If they reward weight loss or constantly give you feedback on your body shape or size, it might be time to look elsewhere. Even if you are getting desired roles, it’s worth considering what sort of environment you’re in and how that impacts you. Roles should be determined based on your skill and hard work. 

Unhealthy extremes to fit the mold of a particular company is not a sustainable approach to a dance career. If you’re struggling to find a healthy approach to your career, or you’re unsure if you’ve found it, it may be time to seek help. Many dancers benefit from support in nutrition, body image, and even career mentorship to confidently determine when they’re at their healthiest. 

Check in with your mental well-being.

Has dance left you feeling drained? Have you been in the trainee or apprentice spot for a while and started wondering if you’ll ever move beyond it? Check your mental well-being.

If you’re constantly telling yourself you’re not good enough or that all the other dancers are so much better, it will feel nearly impossible to progress. Once your thoughts start to improve, I guarantee you’ll feel changes within yourself and your dancing. 

As I was able to connect with the fact that my friend Alice and I had different things to offer, it afforded me some freedom in my approach. I started my first company job believing I was meant to be there. 

Ultimately, you need to retrain your mind for confidence and expect success! Those shifts in mindset aren’t an overnight endeavor or a quick fix. It takes time, dedication, and support from someone who understands the industry specific challenges you’re faced with. 

Don’t forget, it all takes time.

Pursuing dance at the professional level is a process — and an arduous one at that. Every dancer develops at a different rate. Your friend might skyrocket to principal while you’re working away in the corps. It’s helpful to trust the timing of your life.

Don’t compare your journey to anyone else’s. You’ll learn so many lessons along the way as long as you’re open to them. If your love for dance is strong and you stay committed, you can reach your goals. And don’t forget: success is a concept you get to define. So, maybe define success as doing what you love. Perhaps you’ve already achieved that.

Looking for support?

If you’re feeling particularly challenged by your experiences with the cast sheet, and you know you’d benefit from support from someone who has been there, schedule a complimentary coaching consultation. CLICK HERE to book your free introductory consultation. This is the first step and the best way to determine if health, nutrition, and lifestyle coaching is a good fit for your needs.

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Can Dancers Have Their Cake and Eat It?

Every time I present something on food or eating plans, there are questions around sweets and foods you might categorize as “treats.” Most of us enjoy sugar and even that burst of energy it provides, so it’s understandable.

When you’re consuming processed or packaged food, it’s not a bad idea to consider the sugar. Don’t obsess, just build awareness. It’s essential to stay curious about your eating plan and habits so you’re able to pay attention to what’s making you feel energized, what’s draining you, food choices that make you feel great and those that don’t.

Can dancers go overboard with sugar?

Sure. 

Sugar can, at times, be a slippery slope. You might find that as you eat more sugar, you want more sugar. When we eat sweet foods, the brain’s reward system — called the mesolimbic dopamine system — gets activated. The pleasure centers of your brain get “lit up” by sugar, and that response is dampened over time, meaning you need more of it to get the same effect. 

As far as the research and questions of whether sugar is linked to adverse health consequences, it’s not easy to come to a firm conclusion. A lot of research surrounding sugar is “industry funded,” meaning food producers who sell products high in sugar are involved. This is part of why I recommend considering how sugar works for you.

Don’t get stuck on the concept of limiting sugar because studies show the limitations can in fact be a reason why you find you want more and more. Your goal should be to feel OK having some in order to discover what feels balanced. 

You don’t want to fall into a perfectionist mindset around sugar, which can lead to orthorexic tendencies. “Orthorexia nervosa is a disordered eating pattern that is characterized by the need to eat ‘clean’ and ‘pure’ foods to the point that the individual becomes obsessed with this way of life.” 

True balance with sugar is all about you.

You might find that a little something sweet each night is all you really need to be satisfied. Maybe that means enjoying something homemade so you can be part of the process. Or you might feel better and balanced by having one luscious piece of cake or some ice cream each week. Consider all the dairy-alternative ice cream options as a way to add variety to your eating plan.

The number one thing is to find a balance that is sustainable. It should not impact your energy throughout the day — if you’re eating gummy bears or peanut butter cups every hour, that is likely affecting your performance. Try to steer clear of using sugar as a pick-up for lagging energy. The goal should be consistent, not erratic, energy.

How to make the shift away from sugar reliance.

Your body runs on sugar as your body breaks down most carbohydrates into the sugar glucose. So you will definitely be including it in your eating plan. If you find you’re turning to more processed sugars, think about incorporating more fruit or sweet vegetables (e.g., sweet potatoes or carrots). This way, you’re “crowding out” those less-nutritive foods with whole food sources of sugar and still addressing your desire for sweet flavors. In a lot of cases, natural sugars are more satisfying, especially when compared to highly processed or artificial sweeteners.

As with any changes to the way you’re eating, it’s important that you make them gradually. So no sugar “detox.” Just consider where you are, make small adjustments, and notice any impact on your energy, dancing, and overall enjoyment of food. You might find you start to taste natural sugars more intensely.

Dancers and sugar: hidden sources…

While sugar is obvious in some foods like candy, cookies, cake, brownies, or ice cream, it’s less obvious in many other foods. Sugar is abundant in energy bars, packaged foods like breads and crackers, and even stereotypically savory snacks like chips.

A good rule of thumb is to read the ingredients list. Easy-to-grab convenience food is often the biggest source of excess sugars. When food companies create snacks, they try to put together the ideal combination of sugar, salt, and fat to make a food addictive and yet not very satisfying — that way, you keep coming back for more.

Other foods to stay mindful of…

Caffeine, dairy, and refined carbohydrates can have addictive qualities. If you find that you’re becoming dependent on any of those foods to pick up your energy, wake you up midday, or get you through a performance, it’s possible they’re not actually fueling your best dancing. 

Slowly cut back or find a replacement and see how you feel. Keep in mind, if you cut something out altogether, it can result in you wanting it more. Finding personal balance with food isn’t always easy, but it is key to your dancing success. For support, sign up for a free coaching consultation call.

This post on dancers and sugar was revamped in October 2024.

The post Dancers and Sugar: Some Key Considerations appeared first on The Whole Dancer.

From the time you start taking dance seriously, the focus is honed in on technique. Your teachers help you to work out all the little technical details . The best teachers create an environment for healthy dedication and improvement.

However, a lot of dancers are criticized for not applying corrections quickly enough. The assumption might be that they’re lazy or not dedicated. Perhaps they lack focus or attention in class.  This post will delve into how to deal with criticism in dance.

The reality is, if a correction is not applied quickly, it may not be understood or prioritized, by the student, teacher, or both. For some dancers, anxiety gets in the way of mental focus in class. Still, other dancers are so hyper-focused on trying to pick up combinations that applying corrections becomes too much to handle.

As a dancer, you can be empowered by knowing that you are the keeper of your destiny. By taking care of your body, being open to feedback or corrections, and working hard every day you can get where you want to go. You can reach your goals.

It might take some additional focus on applying those things that you hear in class or staying present to remember the intricacies of each combination. If you want to really get ahead, consistently create additional personal benchmarks to make your improvements measurable.

This is where goal setting and accountability come in.

Most of us have been in a situation where it felt like a teacher just really didn’t like you for some reason. Those can be some of the most challenging, disheartening experiences.

Here’s a personal story, major criticism in dance…

When I was 15, I went away for my second summer program. I was put into the highest level, but worried it was a mistake. I don’t think I was ready for that at all, and apparently, neither did the former New York City Ballet *star* my level worked with most closely.

This former NYCB principal dancer (we’ll call her Ms. M) was one of the people I was most excited to work with. I never had any Balanchine training so I was looking forward to experiencing her perspective and learning some incredibly beautiful Balanchine choreography.

It became clear on day 1 that Ms. M was not impressed by me. She would often single me out and give lots and lots of corrections in a very mean, degrading way. I was not totally alone in this. Ms. M was harsh in general and called out a number of ladies in my class with lots of yelling.

Then, there were her favorites. The ones who could do no wrong. Were they working harder than me? Applying corrections more quickly? Simply better?

I cried to my mother on the phone every day that I had class with her (which was almost every day of that summer program).

Ms. M threatened to demote me to a lower level. I secretly wished she would, just so I wouldn’t have to take her classes anymore. In the beginning, I was determined to win her over. Tis’ the plight of the determined dancer I guess. I tried to work harder. Then, I tried to disappear. 

Honestly, that experience informed a lot of my future confidence and actions as a dancer.

When I think back on that experience the pain is still quite palpable, even though it was so long ago. When I revisit some of my dancing experiences after that summer, I see myself hiding. Doubting. Worrying.

This is where the importance of taking on responsibility for your own success comes in. You’ve got to assess yourself and work towards your goals, regardless of these sometimes negative, studio experiences. If you’re not sure how to deal with criticism in dance, you’re not alone.

Don’t let your dancing be defined or defeated by one person’s opinion. Here’s how…

Luckily, I’ve had lots of different teachers over the years and many supporters. I’m glad I only dealt with such a defeating experience for four weeks. If you’re dealing with a challenging experience on a more consistent basis, you may need to take bigger action. 

It might be in your best interest to seek new training or teachers in your area. If you plan to pursue dance professionally, this is going to make a huge difference in your levels of confidence and therefore chances for success.

In a temporarily challenging time, bring your attention back to positive training experiences. Who were the teachers who supported you? How did they make you feel? What did they say that helped you see your own potential? 

During my very challenging summer intensive experience, I wrote down the choreography to every variation we learned. There’s value to writing down choreography but what I wish I had done, was set some personal goals for myself. I would have been empowered to focus on the work instead of the fear.

Clear goals can provide an outlet to turn your attention inward. They can counteract feelings of failure and help you stay aware of your big picture, big goals, and ultimate dreams. Goals allow you to be in the driver’s seat. 

Are you a goal-setter? Do you have a vision for your goals? 

Check out these posts and videos for more: 

• The Power of a Clear Vision.
• Tools of Transformation.
• Reaching Body Goals

How to Deal with Criticism in Dance was originally published in October 2015

Edited for content and clarity July 2021 

Photos of Casey by Luis Pons

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with Madeleine Purcell

Madeleine Purcell trained at Connecticut Dance School before being accepted to ABT’s JKO School, where she trained for three years. She spent a final year training in the Balanchine style at Ballet Academy East. Upon graduating she accepted a contract with the Sarasota Ballet, where she danced for two seasons.

After a season spent as a freelance dancer in NYC, she was invited to perform with Tivoli Ballet Theatre in Copenhagen for their world-premiere production of Yuri Possokhov’s The Snow Queen. She split her time this season between Copenhagen and Oklahoma City Ballet, where she will be returning next season.

Of course there are some things we’re all collectively experiencing but what have been the most major life changes for you?

Well, our season in Oklahoma ended abruptly in March, and at that point I had only been back in the States for three months. Since my boyfriend and I had a lease that didn’t end until May, we decided to stick it out in quarantine until the lease finished. His family is in LA and mine is in Connecticut so it was safer at the time in Oklahoma than either location. We planned on moving to a different rental for next season, as I had a job teaching over the summer in OK, but that plan got put on hold.

How are you staying positive and motivated dancing at home?

Giving myself permission to not force myself to take class every day. It makes the days I feel inspired to dance that much more rewarding. I would rather move to enjoy moving and creating, than worry too much about losing my technique. I’ve had injuries where I didn’t dance for longer than the time we’ve been in quarantine. I’m confident that I’ll be able to regain what technique I “lost.”

For me it’s usually stamina that’s hardest to recoup, and I try to get my heart rate up by either choreographing or playing around with phrases from variations. I end up sweating and out of breath, but exhilarated!

Have you made any adjustments to your meal plan? Any favorite quarantine meals or snacks?

Not really– we need to fuel our brains as much as our bodies. Trying to compensate for not having a full day of dance by not eating as much, is a surefire way for me to feel grumpy, groggy, and I end up with wicked headaches. At home in Oklahoma I got really into making gnocchi from scratch– it was very soothing and satisfying to make a delicious meal from a potato, an egg and some flour!

These days tzatziki has been having a moment in my lunches– whether it’s with vegetables or pita bread. I find that the protein in the yogurt keeps me full, and the garlic and dill make it tasty. I’ve also been drinking a lot more water! When you don’t have to stand and dance in rehearsals for more than 3 hours, it’s a lot easier to fit in bathroom breaks.

Are you coping with any anxiety or more challenging emotions? What are you doing to work through them?

Oh completely. It’s nerve-wracking not to be able to plan for the future, whether that’s finding housing for next season, deciding how to get back to Oklahoma, or if we will even start back in 2020. But for me, worrying about things I can’t control is unhealthy and relatively useless. I have to remind myself that there’s still around three months before our pushed back start date. Before October, I can’t worry too much about the what-ifs.

Are you worried about staying in shape? What would you say to dancers who are concerned about losing technique or “getting out of shape”

I think everyone has that fear in the back of their mind. It might seem like an impossible task, but I’ve found that forcing yourself to take class in either an undesirable or unsafe area will lead to burnout. We are absolutely all in the same boat!

Keep moving and stay active, even if it’s not ballet. Honestly you’re probably missing the rush of endorphins from dance, and that can make you feel totally different. I usually end up feeling pretty sad if I don’t move every day.

How are you filling your extra time?

Well, at the moment I don’t have any extra time! I’ve taught a couple of privates on Zoom, and donated two master classes to schools from Brooklyn to Brazil.

Since June, I’ve been teaching four classes a week virtually to 3-7 year olds, a variations class for advanced students, finding time to take class myself, and balancing three university courses (I’m a student at Johnson & Wales online). I’m pretty busy! I even have the opportunity to teach a few limited in-person classes through my first dance school’s summer program in August. I’m also choreographing for the first time for one of the levels to perform, hopefully at the end of next Spring.

I’ve been able to teach more and more, because it’s something I find really rewarding and enjoyable. I miss in-person classes, of course, but I’ve found that connecting through Zoom can be beneficial. I made my own group of fellow professionals and friends that I give a class to once a week. It’s open to whoever wants to join and it’s a good way for me to feel that community to motivate me to keep on dancing!

The post OKC Dancer Madeleine Purcell “Healthy at Home” appeared first on The Whole Dancer.

You have very specific needs as a dancer and in our current situation, being intentional with food is going to support you in so many ways. By making healthy, intentional choices you’re going to have an easier time maintaining your body.

“Maintenance” of your body includes fueling your muscles, staying at your healthy and preferred weight, and feeling happy and energetic in your skin. Even in this unique and stressful time of quarantine, it is possible to do that.

To support you in looking and feeling your best, I’m bringing back an old resource that gives some structure to creating a meal plan. Grab your Meal Plan Cheatsheet here:

This cheat sheet can help you identify the gaps in your eating plan and opportunities for improvement.

Creating a personalized way of eating doesn’t happen overnight. It. Is. A. Process.

Stay away from quick fixes and 21 – day detox plans and aim to find something that’s both sustainable and impermanent. Every day’s meals should not be the same (I’m not saying it’s bad to be on an oatmeal kick for months if that’s what’s working for you – been there, loved that) but…

remember food and ballet both require flexibility!

As you work through the 5 step plan to creating your personal meal plan, don’t be influenced by other dancers. You’re unique in so many ways and that means your energy requirements are unique. Just because your friend has found an eating style that works for her doesn’t mean it will (or should) work for you.

In addition to the plan you’ll learn through this cheatsheet, here are some things to keep in mind:

Food choices might be limited right now:

That’s OK. Work with what’s available. Try some new foods. Learn about new substitutes (like using flax seed in baked goods instead of eggs). Get creative in your cooking and explore with new flavors, seasonings and dishes.

Stress eating can be supportive:

Check out this recent post on Stress Eating Strategies. It’s not always bad and in fact it can be a way to help you acknowledge the stress and other feelings you’re experiencing right now. It’s about being intentional.

Healthy choices are important:

Any nutrition professional who tells you, “you’re so active, just eat whatever you want” isn’t taking into account the high level of performance dancers are striving towards. I’ve heard stories of this sort of advice from dancers who worked with nutrition professionals who don’t have high level experience in dance.

Non-dancers sometimes have the perception that dance isn’t as physically strenuous as it is and they therefore don’t put enough emphasis on choosing healthy foods.

Prioritizing whole, plant based foods is going to bolster your health and your performance. Keep it simple: fruits, vegetables, whole grains, nuts, beans, seeds, and avocados can makeup a primary portion of your meals.

Not all choices have to be healthy:

Should you prioritize healthy, whole food as an artist and athlete? Absolutely. However, eating treats, sweets and snacks that are “less healthy” at times should be part of your plan.

The most important thing is not to categorize your food as “good” or “bad”. When you do that, you likely attribute those words to yourself and that can be destructive (ie I ate a “bad” food, therefore I was “bad”).

We all know dancers who eat crap most of the time and still manage to perform at a high level:

Some dancers drink soda and eat excessive sugar. They might overeat one day and under-eat the next. Is it possible to have unhealthy habits and dance at a high level? Yes. Those people are the exception. They’re not setting themselves up for long term success.

You also can’t know how they really feel. They might’ve gotten used to feeling like crap most of the time. They likely experience extreme highs and lows in energy (leading to the need for sugar, soda or caffeine).

Make sure you’re enjoying your food:

The indulgences you’re allowing AND the healthy food you eat should be satisfying. If you think healthy food is bland and tasteless, it’s time to reframe that thought and find the recipes that are healthy AND tasty. If you search for “healthy” recipes, you’ll usually find things like steamed veggies, plain rice and chicken (or some iteration of that boring meal). That IS NOT how you have to eat.

Take any negative perceptions you have around “healthy” and work through them. Healthy is positive, supportive AND delicious. Now, grab your cheatsheet and get started! If you have a question, reach out.

Photo by Dylan Lu on Unsplash

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Alston McGill

Where do you dance? Share a bit about your journey in dance.

I am currently a corps de ballet member with New York City Ballet. I began dancing at age three in Savannah, Georgia. My long time ballet teacher in Savannah, Veronica Niebuhr, was like a second mother to me, and she fostered my dedication to and love for ballet. When I was 12, she encouraged me and my family to consider pre-professional ballet boarding programs, especially if I wanted to be a professional ballet dancer.

Knowing my love for ballet, my parents were incredibly supportive, and I went to the Rock School for Dance Education in Philadelphia for one year. From there, I moved to New York and attended the School of American Ballet. I trained at SAB for four years. I was planning on returning to the school for my fifth and final year when I was invited to join New York City Ballet, and I have now been there for four years.

What’s a challenge you’ve faced in pursuing dance professionally? How did you overcome it?

Being a professional dancer is challenging on many different levels, but performing New York City Ballet’s repertory is so gratifying that any challenges are worth it. Injuries, unfortunately, are something most professional dancers have to deal with at one point or another during a career.

There is nothing worse than being unable to move and perform. I had a back injury two years after joining the company. I was unable to perform for 10 months, and after that time I still had to ease back into the company’s workload over another several months.

Only now, almost two years later, do I feel like I am able to really push my body again. During the time I was injured, not only did I have to diligently do my physical therapy exercises, but I also had to stay strong mentally. I had to find ways to keep myself engaged and positive during what felt like a very negative situation.

I focused on my small goals in recovery. I tried not to put pressure on a perfect timeline and rejoiced in every small step forward, like walking down the street without nerve symptoms or mastering a new stabilization exercise. I also had a wonderful support network of friends and family around me to make sure I never felt alone during the recovery process.

What does it mean to you to be a “whole” dancer?

To me, being a “whole” dancer means that I am a “whole” person. I am not only a ballet dancer, but I am working to create a full life and a balanced sense of self. Outside of ballet, I attend academic classes at Columbia, and I enjoy my social relationships with friends, some of whom are dancers and others who are not.

I think these things are so wonderful for mental health and allow me to bring a clear mind into the studio. Being a “whole” dancer also means that I take care of my body. I have Pilates privates, I see the company’s physical and massage therapists daily, and I make sure to do my daily regimen of physical therapy exercises that keep my back and body healthy.   

Do you have any special self-care rituals that help you feel balanced?

I love having a relaxing night at home to help me feel balanced and rested. I’ll start with an Epsom salt bath then lie on my acupressure mat, which always makes me fall asleep. After, I’ll do deep breathing and stabilization exercises on my Parasetter, and I’ll end my night by reading before bed.

What role does cross-training play in your life?

Cross training is so important for me! My muscles don’t like to hold tone, so I’ll do New York City Ballet’s strength and conditioning program with one of our physical therapists whenever my rehearsal schedule allows. Regaining my stamina has also been important in recovering from my back injury, so I do stamina drills with another physical therapist every other day so that I can make it through tough roles.

How do you keep a positive relationship with food and your body in the face of aesthetic pressure in dance?

Although it is still tough every now and then, I think that I have found how to maintain a positive relationship with food and my body. The main way is by not comparing myself to other dancers. We are all different with different bodies!

Do you have a favorite healthy recipe?

I absolutely love this ponzu salmon recipe from Healthyish. It’s easy to throw together, and it’s always a crowd pleaser when I have people over for dinner. CLICK HERE to check out the recipe!

Photos of Alston:
Top Rachel Neville
Bottom Paul Kolnik

The post Alston McGill – Healthy Dancer Feature appeared first on The Whole Dancer.

Feeling anxious about time off from dance?

During the summer many dancers have time off after their last performance of the season. Many dancers fear this time off. They worry about losing technique and strength, or fear gaining weight. Some dancers just don’t know what to do with their free time.

To find solutions about how dancers can cope mentally and physically with summer break, I talked with experts in the dance field, Philippa Ziegenhardt, Dance Counselor and creator of StageMinded and Dr. Elizabeth Barchi, Sports Medicine Specialist at Harkness Center for Dance Injuries in Manhattan.  

“It is quite common for dancers to struggle with taking a break from dance, especially if they’re perfectionists, or if they’ve finished the year on a big high with a big performance season,” says Ziegenhardt. “It is normal for people to take some time to unwind from it all and just knowing that can help some dancers settle into their holiday more smoothly.”

“The beginning of summer is a good time to take off. There’s lots of time between performances, you’re not worrying about auditions, and you have time to breathe before summer intensives start,” says Barchi.

Both full-heartedly agree that dancers need to take time to allow their bodies to heal at the end of the season, especially if they’ve been putting off letting injuries heal.

“The human body is designed to function in a rhythm of work and rest. Without adequate rest, you’re at higher risk of injury, illness, loss of motivation and burnout,” says Zeigenhardt.

But how long should that rest be?

Mostly it depends on your company, or school and summer intensive schedule. Barchi and Zeigenhardt advocate dancers taking a few weeks off from dance. “Ideally, it’s great for dancers to initially take a couple of weeks to completely switch off from dancing and rejuvenate their mind, body and soul,” says Zeignhardt. “This is a great time for hanging out with friends and family, laughing, eating delicious food, sleeping in and doing all the fun and interesting things you usually don’t have time for because of dance.”

To start off summer break, Zeignhardt suggests dancers: “give themselves 4-5 days initially to ‘come down’ and specifically do some things that will help them reflect on the year that has been and transition into holiday-mode, e.g. journaling, making a photo collage or another creative outlet, as well as the active recovery activities to provide some structured rest.”

Barchi advises dancers to do active rest- anything that is not dance, for the first week or two of break. Examples of active rest activities include: biking, swimming, hiking, yoga, light aerobic activity, paddle boarding or snorkeling. All of these activities can easily be tied into vacation time. Go biking on the boardwalk, do sunrise yoga on the beach, or hike in the mountains. The goal is: “finding things fun and renewing,” says Barchi.

Summer gives dancers the opportunity to explore interests both in an out of dance. Barchi suggests dancers find another hobby that will fill time so you’re not sitting on the couch. Teach classes, learn how to sew so you can sew skirts to sell as a side hustle, get Pilates or Yoga certified, learn a musical instrument, explore dance history. The goal is to find an activity that will contribute to your art.

While on break, it can sometimes be hard to let yourself relax because your inner critic can be very active. First know that you are not alone, every dancer has these internal thoughts. “I remember myself when I was dancing in the Hamburg Ballet, on summer breaks I often had that nagging inner-critic in my ear saying ‘you shouldn’t be eating that’ ‘you’re getting out of shape’ or ‘you’re lazy’ and it just robbed me of my freedom to enjoy my hard-earned break,” says Zeignhardt.

Zeignhardt advises dancers to combat the voice of criticism by “learning to recognize that inner critic’s voice and call it out when it tries to ruin your relaxed holiday vibes is a really important skill to learn. You have every right to enjoy your rest. And resting is also your responsibility to make sure you come back fresh and motivated.”

If you have a fear of gaining weight while on break, Barchi believes there is no reason to worry…

“Dance does not burn that many calories. Swimming or strength training burns more calories,” says Barchi.  She jokes that “bad swimming burns even more calories.”

However, if you take a month off from dance and gain weight, Barchi advises patients to consider working with a therapist and/or nutritionist. Take a month to work through your mental and physical issues with food under the guidance of the necessary professionals.

Here at The Whole Dancer, through both one on one coaching and The Dancer’s Best Body Program, Jess can support you in finding a balance with food that will take you through summer and beyond. You can reach out to her here!

With the fear of taking time off, also comes the fear of getting back in shape in time for the new season. Barchi outlined an example of how a dancer can let their body heal and then gradually come back during a four week break.

Week 1:

Take a period of rest.

Weeks 2+3:

Strengthen other parts of the body by doing crossing training. Do 50 % of your activity level, but not necessarily dance. If you usually dance eight hours a day, do four hours of activity. That could be one hour of pilates, one hour of yoga, one to two hours of just walking around. This is when you do active rest activities.

Week 4:

Take class

“This [weeks 3-4] is also a good time to gradually start adjusting your sleep routine so you’re prepared for upcoming early starts,” says Zeignhardt. “It’s also the perfect time to set some goals and work on your mindset so you can start the new season feeling confident and inspired.”

In Conclusion…

Allow yourself time to breathe, recharge and decompress after all the dedication to dance. If you need support, seek it out from professionals who understand the situation who can support you through the transition. Make it a goal to get to a place where breaks bring you joy!

 About Phillippa Zeignhardt:

Philippa danced professionally with the Hamburg Ballet in Germany for 6 years before retraining as a counselor. She founded StageMinded.com in 2011 to equip dancers with the mindset skills they need to survive and succeed in the industry. Philippa is also School Counselor and Performance Psychology teacher at The Australian Ballet School and is mum to 2 crazy little kids. For more information about Philippa, go to Stageminded.com …and if you’re stuck for ideas of things to do this summer, check out her list of 100+ fun activities for dancers here: 

100+ fun activities for dancers

About Elizabeth Barchi, MD, Staff Physician at Harkness Center for Dance Injuries

Dr. Barchi is a board-certified pediatrician with an added qualification in pediatric sports medicine. Her early career with Brandywine Ballet sparked both her passion for dance medicine and her career in the innovation of medical care and training of dancers. During her fellowship training at NYU School of Medicine, she studied dance medicine under the mentorship of Dr. Rose and Dr. Weiss. She is thrilled to be a part of the groundbreaking medical and research teams at Harkness Center for Dance Injuries.

The post Summer Break Anxiety appeared first on The Whole Dancer.

Each day we go to the studio and stare at our reflection. Yes, the mirror is a tool blah blah blah, I know. In reality, we use it as a tool to see what’s wrong.

Then, we get corrections, which are constructive (or meant to be anyway) and take those on. Sometimes, once you’re in a company, you’re mostly left on your own. You’re expected to know what needs work and make it happen.

When faced with that challenge of personal evaluation, you might thrive. Or, you might start to wonder, “why aren’t they telling me anything?”. Then your mind starts to go crazy with the super negative, hyper – critical self talk.

This way of thinking can destroy your psyche and have a hugely negative impact on your dancing.

So how do you get around this struggle? Set goals. Refer to them daily.

Pick the categories that are most important to you and add a couple that you think will be good for your overall well – being. Examples include: technique, career, body – image, physical activity (outside of dance), relationships, inspiration.

Now, start to set SMART goals for your 3 – month, 6 – month, 1 – year, 3 – year vision. SMART is an acronym for goals that stands for Specific, Measurable, Attainable, Realistic and Time bound.

Don’t let yourself be stifled by the idea that your goals should be “attainable” and “realistic”. As dancers we can be so aware of the flaws that we’re not always open to our full potential or possibility. Definitely dare to dream and be as objective as possible.

When it comes to career, you may want to ask a trusted teacher who you feel supported by, what they imagine is possible for you. However, they don’t have a crystal ball so do not take their opinion for fact.

Teachers and Artistic Staff have a somewhat narrow lens of what they’ve seen to work. Their opinions might be based in old standards and they might not consider your potential for growth.

I remember when I was in college one of my professor’s saying he had never seen a dancer make major strides after age 25 – MAX! This totally took hold of my brain and I felt like the clock was ticking. O gosh, I only had a few years left to progress as a dancer.

Luckily, this is soo not true and in fact you can continue to grow and make major improvements to your dancing as you learn more about your body and the way of working and cross – training that works for you.

Ready to make your goals a reality? Here’s how:

Break your goals down into bite size action steps and work towards them each day. Keep a journal to chart your progress and to help you get any limiting beliefs out of your head. You may not achieve them all, but taking serious action WILL get you closer to your goals.

I honestly believe that if you have received good training and you work as hard as your body and mind allow each day, anything is possible for your career. It may require auditioning for companies you didn’t previously consider or moving to a city or state you never imagined living in.

Tenacity, drive and hard work can take you a long way but you’ve got to support yourself mentally.

In The Whole Dancer Program I’ve had the beautiful opportunity to connect with each participant one on one. There have been a number of resonant messages, among those is the fact that most dancers are “people pleasers”.

We want teachers, guest choreographers, and artistic directors to like us. That’s all find and good. There’s a place for that desire and to an extent, yes, someone has to like you for you to keep your job.

BUT

I hope that one of your goals is to dance for YOU. You will shine much brighter and gain more supporters and ‘fans’ when your love for this art radiates out of your face and body each day.

XO, Jess

Photo: Lauren King, Soloist, New York City Ballet

The post Set goals to go further. appeared first on The Whole Dancer.

Adjust Your Cross-Training to Match Your Goals

It’s helpful to re-evaluate what you are actually trying to accomplish with your cross-training from time to time. Whenever your goals change, your cross-training needs to change, too. It can be tempting to just do the same routine over and over again because it is familiar and it is what got you results at one point or another, but that may actually hinder your progress as your life evolves and situations change.

In other words, don’t get caught in the trap of working out just to work out. Work out with a purpose. And, depending on what that purpose is…that is what should determine your workout design.

For example, this summer I had a goal of gaining as much muscle and strength as possible (just as a fun experiment on my body…and because I enjoy feeling invincible). Since my companies were all on break, I had an opportunity to adjust my training regimen to support this goal. While it was a fun and successful experiment, I can’t keep up with that training routine now that my ballet season has picked up.

If I kept training the way I did over the summer, I wouldn’t be able to handle the demands of my dancing. I want the majority of my energy and focus going towards mastering the multiple variations and ballets I’m learning. Plus, my goal is no longer gaining muscle, but trimming down to my “fighting weight”- the ideal ratio between power and size (you can read more about this here).

My cross-training routine looks completely different now that I’m dancing 25-30 hours a week.

The bottom line is that you have to consider what your goals are when you train. Dancers are notorious for driving ourselves into the ground with the physical demands we place on our bodies.

But, more is not always better…especially when it comes to cross-training. If you want to be a CrossFit champion…go ahead and work out like a maniac. If you want to be a dancer…keep in mind that your workouts should help you dance better, not leave you so destroyed that you can barely get out of bed in the morning.

On the other side of the spectrum, you don’t want to avoid all cross-training like the plague. That scenario has its own downfalls, the most nefarious being weakness and susceptibility to injuries. The sweet spot lies in doing just enough to challenge your body to maintain & enhance strength…but not so much that you risk stealing precious energy away from your dance art.

The post Guest Post – Adjust your Cross – Training to Match your Goals appeared first on The Whole Dancer.

Hi dancers! My name is Jackie Bologna and I am beyond excited to write a post for a platform as special as the Whole Dancer.  It is so vital to find communities that encourage you and share tips to make your training and career a positive experience and I truly believe that Jess is cultivating that with the Whole Dancer.

I am about to finish my third year in the Corps at New York City Ballet and I can finally say that I have found my own mental clarity and balance this year.  The jump from the school to company life was challenging in so many unexpected ways.

When I received my apprenticeship I was 17 years old and still living in the dorms at The School of American Ballet.  During my first couple of years in the company I had a lot of ups and downs.

Early in my first year in the corps I had to deal with my first serious injury.

Maybe the most challenging was figuring out how to navigate rest and cross training with our long and difficult hours, and probably the most important step for me was learning how to mentally adjust to the stress of what is expected of you in company life.

Up until this year I let the stress of trying to look perfect for the stage really negatively affect my life.  I was not in a good place mentally or physically and I found myself focusing on everything that was wrong in my life.  It was draining and exhausting in many ways and I constantly felt like a failure.

Although there were times when I wondered if I needed a drastic change in my life, like a break from dance, I never truly considered it a real option.

I started off the year reaching out to Jess and signing up for The Whole Dancer Program, which really set the ball rolling for some important changes that I didn’t even know I needed to make. After talking to Jess and doing a little bit of soul searching, something shifted by the time Nutcracker rolled around in the Fall.

I had also just spent a few weeks off at home with my family and my niece was born.  I started going to church again and rekindling my relationship with God.  I realized how lucky I was to have a healthy and loving family and that if nothing else I should be happy for that reason.

I started writing down things I was grateful for every morning when our season started again and I realized that it made a huge difference in how I viewed my day and myself.  In fact, I started to think less about myself, and more about what a gift it was to be in the room with the extremely talented artists I work with every day.

Taking the focus away from my internal struggles gave me the clarity I needed to remember how much I truly LOVE performing. 

It was also around Nutcracker that I started listening to the Bulletproof Podcast.  Obviously, even though I let go of the negativity I had towards my body, there is always room to improve.  This podcast was a new way of approaching nutrition that made complete sense to me and sparked a deep interest that I never knew I had.  I started thinking about my body in terms of health and prevention instead of just outward appearances.

It made me aware of the quality of my food and the more I learned, the more information I wanted.  It’s now a secret passion of mine and I recommend the book Deep Nutrition by Dr. Catherine Shanahan to anyone who will listen!

I’ve also taken allergy tests so I know what my body is sensitive to.  Obviously no one can eat perfectly all the time but I now try to stay away from anything that is processed or has too much sugar or vegetable oil.  Those are the three biggest things I’ve learned to avoid.

I’ve also become obsessed with my biweekly strength training sessions. 

When I look back over this past few years I realize how much I’ve learned and I feel ready to tackle whatever the rest of my dance career has to throw at me. Some of the things I’ve learned and would share with you if you’re just starting your dance career are to work hard and work quietly, know your understudy roles to the best of your ability, and really try your best to enjoy the little things when you can because it does go by way faster than you think it will.

When you first get into a company people will notice your work ethic and the way you present yourself. One way to really test that is by going out of your way to know the ballets you understudy. You never know when the ballet master will need you to step in and there is nothing worse than feeling unprepared. It can actually be extremely rewarding and thrilling to go on last minute, but only if you’re not scared to forget the steps!

Every time you go onstage it’s a chance to improve and have fun trying out new aspects of your artistry. It’s hard to remember that when you’re tired or hurting or just in a bad mood, but I sometimes take a minute in the wings to remind myself that it won’t last forever.

It truly is a fleeting career so I tell myself to make it good while it lasts, no matter my circumstances.

I realize how much I’ve learned and I feel ready to tackle whatever the rest of my dance career will throw at me.  In many ways I am very happy that I’ve had some good learning experiences and struggles early on in my time in the company.

I believe it’s the lessons I’ve learned after experiencing the hard times that have helped me find what it is to be a “Whole Dancer”.

This past spring and summer I’ve felt more joy during performances than any other time in my life.  It is a complete connection between mind, body, and soul that is hard to describe in words.  I am constantly aware of what a blessing it is to be a part of my dream company and get a chance to be included in some of the best ballets in the world.

For me, being a “Whole Dancer” means opening your eyes to how good you have it and trying your best to learn from your hardships.  It means focusing on the relationships and community around you, and supporting your friends because only you can understand what they’re going through.

It’s easy to let ballet become your “end all be all”, but in my experience you’ll love it a lot more if you let it be what it really is; an incredibly beautiful and disciplined art form. Ballet is a very prominent part of my life, and I believe finding joy in other areas outside of the studios is one of the best ways to enhance it and become a “Whole Dancer” and maybe even more importantly, a balanced person.

The post Being “Whole” in the Corps of a BIG company… appeared first on The Whole Dancer.