Simply put: the way you’re relating to food is your “food relationship.” It may seem like something weird to think about or talk about, but revising food relationships is a primary focus of the work I do with dancers. You’ll often hear me say that you can’t make adjustments to your food choices or start to consider aesthetic body goals until you’re first and foremost in a healthy, balanced relationship with food.

Consider what has impacted your food relationship.

For dancers, there are often too many influences impacting your experience with food. Your personal perceptions of the dance world, comments from teachers, peers, parents, or mentors can all shift the way you feel about food in both positive and negative ways.

Unfortunately, most of the messages around food in ballet are negative. It’s not celebrated for the fact that it’s what allows you to dance injury-free, with ample energy, and supports your body in recovering from the strenuous work you put it through.

Instead, food is viewed as the enemy by many dancers. Something to fear. It’s considered something to avoid or restrict. You might have convinced yourself that only if you eat little will you achieve the dance body “ideal” that still exists in today’s troubled dance world.

Be honest with yourself about where you’re starting.

If you’re in a place of denial about how you truly feel about food or what has brought you to that place, you’ll struggle to make positive changes. You also won’t be able to make supportive food adjustments that would allow you to perform and feel even better in your body.

Do some writing around what your food relationship is and how it got there. Then, envision a beautiful, balanced, flexible food relationship. Consider how it would feel to make food choices easily and without stress. 

Your food experience is multifaceted.

It seems like common sense, but there was a time that I would have benefitted from the reminder: Food is necessary. It’s necessary to sustain your life, and without it you can’t live. If you get into restrictive or disordered eating behaviors, it can be life threatening. In fact anorexia and eating disorders are the deadliest of all mental illnesses.

Even if you’re not in eating-disorder territory, it’s possible you’re underfueling. When you’re not consuming enough food, you’re likely to develop nutritional deficiencies. It’s estimated that somewhere near 90% of female athletes don’t consume adequate calcium. 

You may have legitimate fear around certain foods. Usually the concern is that a specific food or food group is the thing that will make you fat. I’ve had so many dancers say to me, “When I eat X, I always gain weight,” or “Eating Y will make me fat.” Here’s the good news: When your relationship to all foods is balanced, they can all fit into your eating plan. Even a sports-performance-focused, athletic eating plan.

Your food relationship needs to be intentional and flexible.

Sometimes fueling challenges exist simply because a dancer’s schedule is packed and there aren’t times for meal or snack breaks. It’s a practice to eat when you have the opportunity. That also might mean eating when you have time even if you’re not quite hungry yet.

You will benefit from doing some planning around when and what you might eat. Also consider what you would like your food experiences to feel like. Many of the dancers I work with aim for easy, care-free, no-stress, happy, confident, joyful, and supportive food relationships. However, before you can get there, you have to consider what has gotten you to perhaps an unhelpful place with food.

It’s possible you were surrounded by a subtle food message. For example, I grew up during a time when low-fat dieting was popular. My mom was all about diets, and so all the food in my house was low fat. This led me to experience dietary fat as bad. 

You may have gotten more direct food advice that clouded your thinking and experience. Many dancers are told to avoid too much sugar or to make sure you’re eating enough protein. It’s easy to translate that into no sugar or to maximize protein.

Uncovering and rewriting your food experience and relationship is going to serve you to achieve balance, health, and your best dancing. Like a lot of the work I do at The Whole Dancer, it’s a process, but the outcome can have a massive positive impact on the trajectory of your dance journey and career.
Need support to get clear on what you’d like to feel like around food and how to achieve that? Book a call here to get started.

The post Dancer–Food Relationship Basics appeared first on The Whole Dancer.

You may have found the class attire that makes you feel your best. Perhaps you wear leg warmers on your calves to sort of balance out your butt and thighs (I used to do that). Maybe you wear a skirt to accentuate a small waist and hide your hips (guilty again).

Do you remember the last time you felt fully confident in just pink or flesh-tone tights and a leotard?

The way you see yourself in the mirror is connected to your ability to reach your best body, choose food you love that also serves you, and perhaps most importantly, dance well.

One of my favorite success stories from The Dancer’s Best Body Program came when a dancer told me she started taking class without a skirt on-something she hadn’t felt comfortable doing in years!

Going skirt-less, especially after hiding behind a skirt for so long, is huge! Auditions are a big occasion when this confidence will come in handy. You’re expected to show up in just a leotard and tights. If you haven’t done that in months, it can be such a challenge!

The Dancer’s Best Body Program takes you through The Whole Dancer 7 Step Best Body Process. It guides you towards your personal best dancer’s body. Along the way, confidence shifts, AHA moments occur and you start to see yourself in a positive light. You can be an expert on your body.

This process has been refined over the last 5+ years while working with 100’s of dancers. The vast majority of the dancers who commit to The Whole Dancer Best Body Process see a massive shift both mentally and physically. 

The physical shifts are rarely aesthetic.

Sometimes dancers come into this program with weight or aesthetic body goals. One of the first things you’ll do is switch those goals to focus on how you feel physically. Do you want to dance with more energy? More strength? Maybe more speed?

All of that is possible. When you make your physical goals about how you move and dance, the focus shifts. It shifts from “what’s wrong” to “what’s possible?”

Possibility will give you the push to keep going-even before all of your personal body goals are met.

If you’ve tried to stick to a plan in the past, and it just didn’t work or you started to feel defeated early on, this program is for you.

+ Support

You get full access to me over the course of your 3-month program via email and group calls. This might look like getting your questions answered whenever they come up or receiving specific recommendations and action steps based on your personal struggles and goals.

+ Information

This quiets all that internet noise. The course materials cut through all the distraction and provides you with nutritional insights relevant to dancers. 

+ Connections

Connect with dancers from around the world whom you have so much in common with! It’s amazing how much is shared in the dancer experience. 

+ Mindset Shifts

You’ll see the power of personal growth and positive psychology practices in action. Each week of the program builds on itself to create a transformed mind and approach to dance.

+ Action Steps

At every coaching call, specific actions you’ll be able to take right away are identified. You’re already taking massive action when you show up for this program and complete each module’s journaling exercises. However, by taking it a step further, your opportunities for growth are magnified.

+A Clear, Specific, Proven 7-Step Process

If someone tells you they can help you create a calm approach to food, your body, and your dancing, but there’s no process behind their work, something is likely missing. 

Information without a clear process rarely delivers. 

Think about it, there’s information all over the internet. It’s out there for you to find, so why should you invest in yourself through an online course and group program? Well, this program gives you a path. It takes you on a journey to long-term, sustainable, physical and mental shifts.

The process is also holistic. It’s not just about food and your body. It’s about creating a life that supports your goals and well-being. There’s a big, cross-training component with Tanya Tromly of Bulletproof Ballerina.

It sets you up for balance in dance and balance in life. If you’re in need of support, the next round of the program opens in April 2021. Whatever your plans are in the next few months, it’s never a bad time to invest in and commit to yourself.

Alleviating the mental stress you feel around your body is an essential first step in achieving your body goals-just committing to yourself and signing up for The Dancers’ Best Body Program can alleviate some of that stress!

Need the program details? Check here first, if you’re still unsure if you’re the right fit, feel free to email me at info@thewholedancer.com! As always, I’m here for you!

Scholarship applications are open for the April 2021 round of The Dancers’ Best Body Course + Group Coaching Program thru April 1, 2021. Click here to apply.

This post was originally published in April of 2017. It was updated for relevance and clarity in March 2021.

The post Confidence in Just a Leotard and Tights appeared first on The Whole Dancer.

Stress eating happens. As you navigate this new world amidst a global pandemic, it’s perfectly understandable that you might be feeling stressed. Anytime we feel uncertain, it’s stressful. Well, this is uncertainty on a global scale and that is scary.

Add in social isolation and it’s a perfect storm of emotions. 

If you went into this time with an unhealthy relationship with food and your body, it’s likely the stress is making it worse. It’s possible to minimize the stress eating with some positive practices.

Feel the feelings:

Earlier this week I had a group call with some dancers and something I found myself repeating was, “feel the feelings.” This is important all the time but especially now.

It’s ok to be…

sad.

scared.

lonely.

uncertain.

stressed.

The most important thing is to allow yourself to feel it all. Don’t push it down with food or ignore what’s coming up for you. Instead of pretending to be Miss Positivity all the time, feel what’s coming up then search for some good to focus on.

Stress eating happens most often when we’re looking for a distraction. Feeling can be uncomfortable. We eat to numb ourselves and to try and ignore the emotions bubbling up.

To let the feelings out you might cry, talk to a friend, journal, meditate, connect to your body, sing, dance…the possibilities are really endless. Find the release that works for you.

Find the good:

Focus on what’s going well. Create a plan for now and for the future so that you feel this time was well spent.

Remember that this is also a very tough situation and if getting through it is the best you can do, that is enough.

What are some positive things you can focus on?

By looking to the light you’ll be less likely to turn to food for comfort. Feeling gratitude for the good in your life will allow you to move past the stress.

What’s going well right now? Ask yourself that question at least once a day.

Stress Eat:

Seriously. Don’t beat yourself up if you eat a big bowl of pasta because you find it comforting. It might in fact make you feel better. If  you consciously choose to use food for some comfort it’s OK.

The emotional/stress eating we want to avoid is the kind that’s reactive. When you’re absolutely blinded by the pain and fear that you’re feeling and you start eating without intentionality, it’s damaging.

If you choose to eat for some comfort you should be able to savor and enjoy the food. The piece of cake might in fact serve you.

When I was in my worst place with food and my body, I was living alone. I had walls up – not willing to share my emotions or to let other people in emotionally. That’s when my worst binge/stress eating happened. I’d order a whole (vegan) pizza and eat it by myself and feel completely awful afterwards.

That’s the sort of thing we want to avoid.

Acknowledge the Uncertainty and Fear:

This time is extra scary if you were hoping to get a job in the coming weeks. It’s all uncertain and it’s OK to be fearful. We don’t know what’s going to happen next. Dance companies will each have to approach this time in their own ways. Some may still be hiring. Some may not.

Summer intensives will have to shift their approach if dancers haven’t been in the studio for months. Things will be different.

A warrior accepts that we can never know what will happen to us next. We can try to control the uncontrollable by looking for security and predictability, always hoping to be comfortable and safe. But the truth is that we can never avoid uncertainty. The not-knowing is part of the adventure. It’s also what makes us afraid.

Pema Chodron, Comfortable with Uncertainty

Keep a list of alternative activities by fridge:

If you find you’re stressed AND bored and the boredom is leading you to the fridge, keep a list of other calming activities near the fridge. That way when you walk into the kitchen you’ll be confronted by the list and can create a little pause in the action.

That pause could be enough to get you onto something else. Something that’s more supportive and calming that might actually allow you to process the stress more healthfully.

Some ideas include: knitting, sewing, dancing, drawing, coloring, doing a puzzle, putting together legos, playing a game (alone or with a friend), singing, engaging with social media (not mindlessly scrolling but finding ways to actually connect).

Keep a list of healthy snacks by the fridge:

If you are in fact hungry and want to avoid going crazy with the indulgent food every time you want a snack, keep a list of healthy options by the fridge. You might even end up doing some stress eating with healthier options you enjoy and remember, that’s OK.

Some snack ideas include: hummus + veggies + crackers, trail mix, dark chocolate (maybe put it in your trail mix), yogurt (greek or dairy free) + fruit + a sprinkle of granola, half a smoothie or frozen fruit based ice cream.

It might help to have a list of sweet + savory options so you can satisfy cravings more easily and healthfully.

Conclusion:

This is a challenging time. Processing your emotions is the most surefire way to avoid stress eating. Remember that you are not alone and please reach out if you need support.

Photo by Eaters Collective on Unsplash

The post Stress Eating Strategies appeared first on The Whole Dancer.

You’re conditioned to be that way and even taught that it’s necessary for success in this art. If you want to be the best you’ve got to give it all, all the time…blood, sweat and tears.

It’s very easy for that mindset to transfer over to how you tackle food and eating.

This stems, once again, from messages you’ve likely received from teachers and artistic staff. As I’ve worked with dancer’s over the years, it somehow always surprises me to hear the messages they receive from teachers.

Whether you’ve heard extreme messages about food or you’ve come to an extreme place on your own, it can be hard to shake that mindset. Avoiding extremes in the first place is helpful, but what if you’re already in an extreme place with food?

Being too Restrictive

This is one of the most common extremes dancer’s fall into. In ballet, it feels that smaller is better. Therefore, when it comes to food wouldn’t less be more?

Less food should help you reach the goal of being “smaller”, right?

The truth is being too restrictive with food is extremely unhealthy. It can impact the health of your body, bones AND mind for the long term.

When dance teachers say things like, “stick to lettuce and water.” Ignore them. If they’re being serious, they’re extremely misguided and putting you in danger. If they’re joking, well, it’s still harmful from a mental health perspective.

When  you get into the habit of restricting your food intake, even just on some days, it often leads to overeating.

Dancer’s who struggle with weight fluctuations (that was me all the way) are typically in and out of cycles of restricting and binge eating. You see, it’s hard to under eat for a long time because your body is not meant to function that way.

You will get hungry. It will be necessary to replenish the nourishment that’s been missing. You’ll likely be craving less healthy foods because your body is starved for the joy and pleasure of tasty food.

If you’re in patterns of restriction and/or bing eating, seek help. Find an eating disorder psychologist who knows the dancer mindset.

Let’s talk about “Clean” Eating

Clean eating involves a few key principles that align with basic principles of healthy eating:

• Eat more real foods.
• Eat for nourishment.
• More plant-based foods.
• Clean up your act.

This is one of those phrases that people use in a weird way. It’s not clearly defined so it can be exploited by marketers. Companies will say 100% “clean” ingredients. Without any real parameters behind that phrase, it really means nothing.

People use it on a personal level as well. “I’m into clean eating.” Ok…does that mean you’re only eating plant foods? Grass fed animal foods?

If you are a “clean” eater, does that mean you can never enjoy a piece of cake? Sometimes when you start to follow something like the clean eating movement it feels like you can never have food that’s purely about indulging.

A balanced eating plan and yes, even a healthy eating plan, allows for indulgences. If “eating clean” makes you feel deprived, move on.

What about Orthorexia

Getting overly obsessive with healthy eating can lead to negative consequences.

“Although not formally recognized in the Diagnostic and Statistical Manual, awareness about orthorexia is on the rise. The term ‘orthorexia’ was coined in 1998 and means an obsession with proper or ‘healthful’ eating.

…being aware of and concerned with the nutritional quality of the food you eat isn’t a problem in and of itself, people with orthorexia become so fixated on so-called ‘healthy eating’ that they actually damage their own well-being.”

Aim to enjoy healthy foods. Eat lots of fruits and vegetables but don’t connect being “good” or “bad” to your food choices. If you want to eat healthfully for the long term  you have to allow indulgences and less healthy foods to be eaten AND enjoyed!

Let’s talk about Intuitive Eating…

One of the most sustainable and arguably healthy ways to look at food is through the lens of Intuitive Eating. I’d say eating this way is not extreme but rather quite balanced. You can practice Intuitive Eating while also sticking to a meal plan that resonates with you.

Here are the 10 Principles of Intuitive Eating:

1. Reject the Diet Mentality
2. Honor your Hunger
3. Make Peace with Food
4. Challenge the Food Police
5. Discover the Satisfaction Factor
6. Feel Your Fullness
7. Cope with Your Emotions with Kindness
8. Respect Your Body
9. Movement – Feel the Difference
10. Honor Your Health – Gentle Nutrition

I want to highlight that last one. The Whole Dancer approach to food and healthy eating for dancer’s encompasses so many Intuitive Eating Principles. Since you’re performing at such a highly athletic, competitive level there’s a lot of focus on “Honoring Your Health”. You can’t perform at your highest level without that attention to health but consider this:

“Make food choices that honor your health and taste buds while making you feel good. Remember that you don’t have to eat perfectly to be healthy. You will not suddenly get a nutrient deficiency or become unhealthy, from one snack, one meal, or one day of eating. It’s what you eat consistently over time that matters. Progress, not perfection, is what counts.”

My Advice: Avoid Labels

Eat foods you enjoy.

Prioritize plant foods.

You don’t have to define your eating style or food choices for anyone.

Make sure you’re eating enough! Pre-professional and professional dancer’s are much more likely to fall into the camp of under eating vs. over eating.

If you’re looking for support in finding balance, crafting a meal plan that fits your personal needs and reaching your body goals healthfully check out The Dancer’s Best Body Program – enrolling now thru 1.19.20 only.

Figuring out what foods and eating styles work best for you seems like it should be simple but we tend to overthink it. You can avoid the extremes and reach your goals.

resources:

Intuitive Eating

Clean Eating – Mayo Clinic

NEDA Website

Photo by Daria Rom on Unsplash

The post Avoiding Extremes in Healthy Eating appeared first on The Whole Dancer.

In the past, I’ve gotten into the idea that those “What I Eat in a Day” posts are worth taking with a grain of salt. You might look to them for some inspiration but you shouldn’t give them too much weight and you definitely shouldn’t copy them outright.

Over the Summer, my point was magnified when I saw some dancer shares on Instagram stories. There was a little trend of sharing a “day in the life” at Summer Intensive, including daily food intake.

Without getting into specifics, because I don’t want to perpetuate the negative message, some dancers shared food intakes that were at anorexic levels. A banana and saltines are not a sufficient lunch for a high level dancer!

I was kind of shocked and considered direct messaging the dancer. I hope that someone in her circle (a parent, friend, teacher) did confront her. She wasn’t taking in anywhere near enough food to fuel a day at a Summer Intensive.

Whether you’re a young dancer, pre-professional, or pro, it’s possible that seeing that sort of food information makes you question things. Are you in fact eating too much? Do you really need to under eat to meet your body goals? Does she know something you don’t?

The short answer is no.

The more complex answer is that food intake can and should be different for everyone but no dancer should be severely under eating or restricting calories to meet body goals. If you want some thoughts on what a dancer should in fact eat in a day, check out this video on The Whole Dancer YouTube channel – subscribe while you’re there!

To the dancers thinking of sharing “What I Eat in a Day” details, please take pause.

If you think you’re a healthy example but you’re not sure, air on the side of caution. It’s really dangerous for other dancer’s to see clear examples of under eating. For the young ones the damage can be lasting. For the older dancer’s it can still make you question things.

Before you share your food, really ask yourself, “Am I eating a full, complete and healthy meal?”

“Is this something I would feed to my future daughter (or son) and be confident that I’m nourishing them?”

“Did I make this meal with the intention of loving and supporting my body and dancing?”

If you can answer yes to all of those questions then sharing is OK. Sharing healthy eat’s for the sake of inspiration can be a really awesome thing. With all sharing online I think we need to remember the impact we can have.

Your influence might be much further reaching than you even realize.

When you’re a viewer, take the time to consider the information you’re taking in as well. If a dancer you admire is casually sharing what she’s eating for lunch, it still doesn’t mean it’s what you should eat.

If you suspect that maybe a dancer isn’t eating enough, trust your instincts and don’t copy what she shares!! Also, remember that you might not be getting the full picture.

When someone shares their food, they might only show the “pretty” parts. They can leave out components of the meal if they don’t think they’re healthy enough.

In Conclusion…

The mentality that you approach your food choices with is key. If you allow too much influence from dancers (especially when they’re not nutrition professionals) you’re on a dangerous path.

You might be inspired to under eat or miss out on essential micro or macro nutrients.

Instead, find a professional to work with or do your own research (in reputable, science based books, not the internet)!

The post The Danger of Copying Meal Plans appeared first on The Whole Dancer.

Guest post by Katrena Cohea

When we think about young dancers, we tend to think tutus, freeze dance, and all the inherent cuteness that accompanies early childhood dance classes. While this age is full of sweetness and it can be fun to see dancers experiment and explore, this also a great age to introduce body love and respect.

If you chat with any 4 year old for a length of time, they’ll likely tell you all the things they’re good at, all the things they can do, and a plethora of other facts ranging from dinosaurs to what they had for snack. Young dancers usually don’t have any problem identifying their strengths, so it’d be easy to assume they don’t need any further foundation for body acceptance, but developmentally, young dancers at this age are at the perfect stage for cultivating a loving relationship with their bodies and abilities that can see them well into their tween and teen years.

Here are three smart strategies you can use to encourage young dancers to continue loving their bodies and abilities.

1. Be aware of language

Dance has its own unique language. Especially with young dancers we use a lot of imagery to convey technique and movement themes. While there’s nothing wrong with imagery, it’s worthwhile to tune into the words we use with young dancers and update if needed.

Flexed feet aren’t ‘bad’, or ‘naughty’ for example (this position is used often in modern and tap dancing), just as ‘suck in your tummy’, or ‘pull in your tummy’ isn’t as beneficial as encouraging dancers to lengthen their front body muscles, or asking them engage their core by pulling an imaginary string from the belly button to the spine.

While this may seem like a small and tedious change, modeling the use of positive and accurate language will only help dancers be more accurate and positive themselves as they get older, work on more detailed technique and spend more time in front of the mirror assessing themselves.

2. Focus on feeling

Speaking of mirrors, we can teach dancers from an early age that the mirror is nothing more than a tool. Just like spotting for turns, or costumes to play a role, mirrors are tools to help dancers feel and adjust for technique. How many of our tween and teen dancers go through a phase where they’re obsessed with the mirror?

How many of us, when we were dancing every day, obsessed over every lump, bump, and line we saw in our reflections? If we remove the emotion from the mirror, all that’s left is a tool. And when we focus on feeling, we help remove some of that charged emotion.

Encourage dancers at a young age to be curious about how movement feels in their body. When it’s recital time and dancers try on costumes, ask how they feel in the costume, as opposed to deferring to the mirror for how it looks.

3. Make it fun!

Body acceptance doesn’t have to be a serious subject all the time! Keep it light, especially with young students, and they’ll get the message that loving and respecting all their bodies can do is just a normal part of moving and dancing.

Try movement obstacle courses that show dancers how strong they are, use yoga as brain breaks to point out to dancers how flexible they can be, or let dancers create their own affirmations with markers and paper and hang them all around your studio. Young dancers especially love it when things are fresh and fun, and you’ll be more likely to keep them engaged with this work when it feels like play. You’ll enjoy it more that way too!

Which of these tips will you be trying? I’d love to know in the comments, or hear your favorite ways of bringing body positivity to your young dancers!

About Katrena:

Katrena Cohea is the Owner and Founder of Different Drummer Dance, a dance studio based in upstate New York that’s on a mission to teach dance from the inside out. Different Drummer Dance takes a bright, fresh, and big-hearted approach to dance education, focusing on growth mindset and body positivity to teach dance holistically.

She was trained in the RAD syllabus and completed both the RAD’s Advanced 2 and CBTS programs. She graduated with B.A. in Theater and Dance from CSUEB, where she trained with noted Bay Area directors/choreographers Nina Haft, Eric Kupers and Laura Elaine Ellis. She has performed and taught across the United States and Canada including Vancouver, New Mexico, and New York. Katrena is also a writer for the magazine The Wonderful World of Dance.

The post Instill Positive Body Image at a Young Age appeared first on The Whole Dancer.

As a native New Yorker, I was spoiled in my younger years. I had access to performances by some of the greatest dance companies and performers in the world. New York City Ballet has always held a special place in my heart and Deanna McBrearty is a dancer whose career I watched closely.

When a dancer you admire crosses your path in many ways – it feels like you know them. I got to watch Deanna not only in performances but also in the comfort of my living room via The New York City Ballet workout tapes and in Suki Shorer’s book on Balanchine technique.

Earlier this year I had the pleasure of connecting with her to chat about her new book Start with This and the many lessons she learned through her journey in dance. Start with This is part memoir, part field guide and will give you tons of “ah-ha” moments, whether you’re aspiring to dance professionally or you’re already in it. Her book will make you feel less alone (dancers have so many common experiences) and can support you in looking at things in a more positive light.

Check out my interview with Deanna here: 

In our chat Deanna shares so much wisdom – the kind that can only be found in a long career with a big company. Check out this interview, the advice is priceless.

You’ll find out how injury can actually help you get ahead and what is really necessary from the perspective of strategy and mindset to move you forward in dance.

Like most great dance stories, Deanna’s had ups and downs that shaped her into the artist and person she became. Are you ready for some inspiration? Check out the interview!

If you’d like to learn more about Deanna, visit her website. To purchase her book – click here!

The post NYC Ballet Dancer Deanna McBrearty Shares Dance Career Lessons 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.

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Why don’t we start out with how did you get your start in dance? Tell me a little bit about your journey up until this point!

“So I used to be into gymnastics in middle school, I was never very good at it. So that’s one of the reasons I sort of fell out of love with it so I was looking for a new activity to do so my mom suggested I try taking a ballet class. She did Pilates at the studio near our house and the Pilates teacher also taught dance.

So, that’s how I got my start. I took one class a week, did not know how to do anything, I got kind of a late start there but I increased the classes I was taking and I distinctly remember one day after a recital saying to my parents, ‘you know I think this could be fun to pursue. I’d like to dance professionally.’

My parents luckily have been so supportive my entire life and they said, alright, well I guess we should take the steps to get you there and do what you need to do. I eventually transitioned to a different ballet studio and started training in the ABT curriculum and really upped the intensity with that and after high school I went to Butler University and completed 4 years there as a dance major.

I did the whole audition tour this past semester and I was offered a position with The Sarasota Ballet Studio Company. So, that’s the next step for me coming up here!”

How old were you when you had that recital moment when you decided you wanted to pursue it (dance) more seriously?

“I was probably around 15 years old and then I switched studios when I was 16 and I really upped the intensity around junior year of high school. I was playing catch up for a while. It was kind of a sprint when I switched so I had to hold myself to a high discipline standard so I could get to where I wanted to be.”

I think sometimes realizing later can be better almost because you do have that added pressure to say to yourself, ‘ok I really have to make sure that I do everything I need to do at this point.’

“Yea, definitely. I was able to fully comprehend, here’s the standard I’m held to, here’s what I need to do to work intelligently in class to get me there.

What is your focus on now as you move towards this studio company opportunity which is really exciting. Congratulations!

“Well I’m just in love with classical ballet and I think Sarasota is going to be a great place for that. I’m just excited to immerse myself in the professional lifestyle and it’s a test run. We’ll see…I’m really, really excited. I don’t have one specific focus.

There’s a lot of things going on all at once. I’m transitioning out of the college lifestyle to professional life. Living on my own. I’ll have a roommate which I’m really excited about. Making new friends in a new city, I feel like I’m pinging in every direction a little bit but I’m sure it’ll all come together once I get there.”

Is the roommate going to be another dancer?

“She is. She’s also joining the studio company. We were able to connect via the company manager.”

What inspires you to dance?

“What I love about ballet is the beauty in the movement and how pure that can be but how it can also have so much expressivity behind it. I think it’s really a unique artistic expression because you’re moving so expansively but there’s also that artistry behind it that varies from dancer to dancer.

Watching different dancers add their own flavor to the role is just incredible and keeps it exciting and interesting and that really inspires me to find my flavor and add it to my performance.”

Have there been any major obstacles that you’ve had to overcome in your journey?

“Sprinting to catch up to the people who had been dancing their entire lives. Trying to get myself to that standard after having such a late start to the ballet world. That was a tough one!”

It’s helpful that you had support from your parents and a network and things like that.

“Yea, I was very very lucky with that. They’re my biggest fans and I love them so much for it.”

What is your eating routine like?

“Well, I really follow a whole foods diet. I don’t think you should deprive yourself of anything. It’s important to be well rounded. So, I got into this whole foods diet initially in high school because I was having a lot of skin issues and that really helped to clear up the acne I was having and my sister had really been educating herself about nutrition and a whole foods lifestyle so she was kinda right there with me, saying why don’t you try this or lets cook this together.

It was nice to have that support system there and I started to realize how great I felt when I wasn’t eating processed foods and was cooking for myself, not eating out too much. I really enjoy it and now I get a lot out of trying new recipes. Trying fun desserts that don’t have as much processed sugar in it. Not limiting any one food group but there’s an abundance of options and I just find that really exciting.”

So you’re at San Francisco Ballet for the summer as an RA. Do you have a cafeteria eating situation going on there?

“We do, yea. We eat right across the street. It’s just a typical dining hall with a couple different options and we go in for breakfast and dinner there.”

How do you navigate that?

“I am a vegetarian, so luckily there’s an option that they have every day. There’s also a pretty well stocked salad bar and actually I went to Trader Joe’s to get some snacks to supplement and get my own salad dressing. I’ll just bring some things in with me. If I want to add a scoop of almond butter to my oatmeal in the morning, I’ll add that to add some healthy fats in there.

They generally have a pretty well rounded option every day. You just have to be able to go outside of the boundaries of what they prescribe so if they say, we’ve got this, this and this option for the vegetarian menu today sometimes I’ll say, you know I only want that and pull from a different section to get something else and piece together the meal that sounds best to me.”

Well, I guess you too have some dining hall experience after being at college.

“Yea, you’ve just got to get creative to make it work. Some days are better than others.”

What does being a healthy dancer mean to you?

“I think to be healthy that goes beyond just diet. I think it includes the people you surround yourself with, the environment you’re in, trying to practice positivity and surround myself with positive people.

Positive friends who, maybe we’ll be venting to each other but ultimately we come to a positive conclusion about how the situation can help us grow in some way. We don’t get down on ourselves because dance is a high pressure career and you can’t get in the mind space of negativity. That will take you down in the long run.

So, just surround yourself with things that make you feel good. That’s what it means really.”

Any time that there have been those people that get stuck in the negativity and don’t seem to want to come out of it. I’ve always tried to kind of distance myself from that because as you’ve said, it’s not conducive to getting far in dance.

“Exactly and you don’t have to cut them out completely but to just check yourself when you’re around them and say no, I can’t get in that headspace as well.”

Do you do any cross – training?

“I do. I really really enjoy yoga. I think that is one activity that moves as expansively as dance. Even though you’re not traveling through space you’re really touching the entire area around you and I really like that even though you’re doing it in a different way it feels great.

I also sometimes go to the gym and do the elliptical a couple of times a week to really get my heart rate up. I think it’s important to have that stamina to get through variations or a tough jumping day. It’s important to have that cardio stamina.

Those are my two main ones. I also really enjoy walking. Ideally I like to be in urban areas. I think it’s just great to keep your circulation going throughout the day and get some fresh air, go for a stroll.”

What is your favorite style of yoga?

“I love vinyasa yoga. Specifically I really like heated although I can’t do that everyday because that’s a lot of sweat for me! I like how vinyasa is almost like choreography, you know, you’re going through a sequence, you do it to the right and to the left. It’s really symmetrical and expansive and I really like that for my body. It still feels like a workout but it’s calming at the same time.”

Have you been doing yoga for a long time?

“Probably 4 years now, I was introduced to it freshman year of college. A professor kind of sprinkled it into one of our conditioning classes.”

How do you maintain balance as a dancer?

“Again, surrounding yourself with things that make you happy. I think it’s really important to have a friend group or person outside of dance. Of course, it’s so easy to talk to other dancers.

We have our inside jokes and we understand the terminology but it’s really important to have people who can offer a different perspective on life because dance might be so foreign to them and they’ll say, ‘wait what? That’s crazy. Tell me more about that.’ and it makes you kind of step back and realize you might be way too in your head about something or you might not have realized how much of an opportunity something was.

Having people outside of the dance world can offer a new perspective and make ballet more meaningful in a way because you see things from a different set of eyes.”

I feel like that’s something you get a lot in the college dance experience. At least at Butler because you’re surrounded and immersed in the college scene. It’s not all dancers all the time so it definitely gives you that perspective.

“Especially in college, you’re taking other courses as well so you’re engaging a different side of your brain and thinking about things differently and cultivating your viewpoints on things, where you stand in life. That also translates into the studio.

I’ve grown as a person throughout my college experience and really matured and have come into my own. That helps me on stage when I’m portraying a character, thinking about how to approach choreography or the process in the studio.”

What are your goals in dance? What are you currently working towards or working on?

“My goals right now are pretty broad. I would like a smooth transition into this next phase in life and really contribute to the company and, I’m just going to use your phrasing here, be a “Whole Dancer” and be happy in what I’m doing and feel balanced outside of the studio and fulfilled within it.

I don’t have one specific thing that I’m working on right now…”

With moving to your first company position, it’s important to give yourself that space to just work on the transition and work on doing your best as you get in there. Like you said, it’s an entirely different scenario from where you’ve been.

“Right. Everything is changing now and it’s exciting but it is a little overwhelming so I’m just trying to take it one step at a time.”

Do you have someone who you consider a mentor or anyone who has kind of guided you through your dancing?

“I can’t think of one specific mentor. I was lucky enough to have great relationships with multiple professors at Butler and so they each offer different perspective on things and add different elements to my dancing because they focus on different aspects of it – the artistry vs. the port de bras vs. the footwork. I think that’s made me very well rounded.

Outside of the studio, I think my parents because they’re so supportive and they have a positive outlook and really support my sister and I to achieve our goals. They keep me motivated because they make me happy to pursue what I’m doing even when I’m having down days. We can’t all be on our ‘A’ game every day but when I chat with them they’ll say, ‘remember why you want to do this’ and that kind of lifts me back up again.”

What advice would you give to younger or aspiring professional dancers?

“Be willing to try new things. Not only just steps in the studio because I know it can be scary to try something for the first time but be willing to try new styles. Be willing to accept that correction the teacher gives you that you think isn’t going to help you. Always be willing to give it a try. You can always say, ‘no I didn’t like that’ but you might find something that you really do love and that can push you up to the next level and help to round out your dancing.”

How do you deal with disappointment in dance?

“It can be tricky. There’s a lot of rejection in the dance world and I think talking it out with people outside of the dance world has been most helpful for me because they’re able to say, ‘I get where you’re coming from but there’s more opportunities out there.’

You have to take a step back and say, maybe this isn’t the path that’s meant for me but did I discover something else in the process? Or, is there a different pathway I can take to try and get there or, is there a dance mentor I can talk to who’s been through the same experience. It’s really important to find people who can sympathize with you but who also push you beyond it.”

Yea, you have to stay flexible as you’re going towards your dance goals. What’s the achievement thus far that you’re most proud of?

“Probably cultivating my artistry on stage. That came kind of late for me and you know that’s something artists work on through their entire career but I am very proud of myself for coming out of my shell over the last 4 years especially at Butler. I’ve been pushed to not just smile on stage and do the steps but to really mean it and to find the quirks that I can make my own.

Again, it’s really difficult to do and I’m still working on it for sure, always will be. But I think taking those initial steps, I’m excited to see where I can take it in the future.”

Artistry is a big one. I think that like you said, when we’re younger and it depends on where you’re training and who you’re training with and stuff like that but a lot of times it is just smile and do the steps on stage.

“Right! Like for me in class, it’s so easy to get caught up in the technique of it and say I want to do this right, I want to do 3 turns, I want to get my leg up to here. It’s easy to get in that mindset in class but when you’re on stage you’ve just got to let that part come and then put your mind into performance mode which can be really tricky to do sometimes if you’re worried about the steps or you’re nervous about something.”

What do you think will be the hardest part of being a professional dancer?

“I don’t know, I was going to say the first thing that comes to mind is getting the initial stamina to take class in the morning and then be in rehearsal for many hours. A lot of times probably just standing, you know.

It’s hard to predict, honestly haha. That’s not a very great answer. I think probably building the initial stamina for the change in lifestyle. It’s not like I’ll be taking a ballet class, taking a pointe class, taking a pas class and then calling it a day.

It’s really class and then rehearsal so it’s not as academic feeling but really transitioning into that space of I’ve got to be in performance mode most of the time and be ready to hop on there and fill out the role in the studio not just to concentrate on the steps or the technique of something.”

We’ll have to check in with you in 6 – months and see what has been the hardest part of adjusting to your professional job!

“That’s part of the reason why it’s hard to answer that question because I’m not entirely sure what I’m jumping into right now!”

What does being a “Whole Dancer” mean to you?

“I think a ‘Whole Dancer’ is someone who’s balanced inside and outside of the studio. Who can enjoy themselves when they’re in rehearsals and performances but also can enjoy themselves when they’re outside of the studio and has other interests outside of the studio that they pursue with equal fulfillment so that you are taking in the entire world around you and not just becoming a one sided person.”

That’s such a positive shift that I feel has happened in dance in the last I mean, it was after I was in there because 5 – 10 years ago it was very much like, you should just be thinking all ballet all the time. If you want to succeed in this it has to be 100% all you think about all the time. So, I’m glad that it’s recognized by the majority of dancers that I talk to that that shift has to be made and those outside interests are going to enhance what you do in the studio and on stage.

“Yea, cause you never know when you’re just exploring a city or hanging out with friends you might have some experience that you didn’t expect. You might meet someone and experience emotions that you didn’t expect to feel but it can totally translate onto the stage. It’s all just part of maturing as a person.”

Any final thoughts?

“Diet, lifestyle, approach to work – address all aspects of your life and find things that are fulfilling for you in all of those different areas.”

The post “Whole Dancer” in transition : Julianne Blunt appeared first on The Whole Dancer.

Finding the way to fuel your own unique body can be a process, and for me it has been no exception. When I was young, I didn’t experience many different kinds of food and I also tended to eat whatever and not think much about it.

When I moved away from my family and started living with other pre-professional dancers like myself, I began to try new things and it completely changed my way of thinking about food.

Transitions like that can be difficult for some young dancers, but for me, it was all positive albeit confusing.

I could understand and feel the difference in well-balanced meals. I finally learned how great breakfast could be to fuel my body for the rest of the day.

I started eating oatmeal/porridge because it has a good balance of sweet and savory and I could easily add lots of protein and slip in my first fruit of the day. I also learned how important it is for me to “graze-eat” because all I knew during my early years was that I had a fast metabolism and I was generally always hungry.

But now, instead of just wolfing down whatever is closest to me, I have learned what kind of snacks are easy to access yet give my body what it needs for long-lasting energy.

I like to keep snack bars that are the least processed I can find, such as peanut butter “nakd” bars. I also keep snacks such as nuts, raisins, “barbecued” chickpea mixes, and Chinese rice crackers handy.

I am still learning how to eat during particularly physically intense periods, such as a run of double show days of “in-the-round” Swan Lake. I’ll always dance in all four Acts, so even though I love eating and I know I need to, sometimes I’m just too exhausted to feel hungry.

This is why I need to make sure my snacks and lunch/dinners are simple and ready at hand so I can continue fueling my body. One go-to lunch that I love is a tofu, spinach/beansprouts, and quinoa box with seeds, sesame oil, and soy sauce. I’ve written this simple recipe on my blog.

Lots of protein and the quinoa feels really light so I can dance straight afterwards if need be. During runs of shows I also typically eat four meals a day instead of three, so I can spread it out and avoid feeling overly full onstage.

Swan Lake and other intense runs of ballets, such as Nutcracker season, require a lot of mental strength as well. This is when I most rely on my support systems, consciously reminding myself to stay overall positive, and I also indulge in naps. Twenty-minute naps between shows followed by a black coffee can make a huge difference for me, although it doesn’t work for everyone. I also find that coconut water helps me recover faster.

I think mental strength is the most important aspect of being a professional ballet dancer. Practicing, visualizing, and preparing correctly are essential, but I think it’s also important to have other interests and passions.

Ballet requires so much of us, it’s easy to become hyper-focused (especially when you are young) and at the end of the day, think of little else.

Being a multi-faceted person makes you a better performer.

We love what we do, but the ups and downs are extreme and can be quick. It’s easier to take everything personally when your body is also your instrument, so to speak. Since I have focused more on finding joy and substance outside of my work, I have been able to handle the waves of emotions dancing professionally brings a bit easier.

Having other interests is also important for when dancers get injured and have free time on their hands. They should try and enjoy something outside the realm of their injury. Injuries can make us feel helpless and out of control, so it’s good to have another thing to focus on.

Outside passions and relationships make you a more well-rounded person, and you’ll actually be able to enjoy and give more when you’re thinking about your professional life.

Want more on how Jeanette stays balanced? Check out her blog here!

The post Dancer Inspiration : Jeanette Kakareka appeared first on The Whole Dancer.