You’ve probably heard of using a foam roller to relieve muscle tension. It’s been talked about quite a bit in the media. Running Times has recommended it. It can even help with cellulite, some say. (Got your attention?) Well, they’re onto something, a foam roller is good.
But what about a tennis ball? It’s a trick used by athletes, including dancers, and those with chronic pain and tightness. Success stories abound (see one here.) This option is cheaper, and easier to pack and store. It’s easy:
Simply lie on the ground, preferably on an exercise mat. Place the ball beneath the point of muscle tension, and lie your weight into it until you feel a pressure into the tenderness. Common “trigger points” include the hips - anatomically, the ’sides’ of the glutes, especially the piriformis muscle, which runs diagonally across the glutes and is involved in hip rotation. The six rotators here, including the piriformis and running across this area, are commonly key areas of tension. If you have pain from the glutes/hips running down the outside of one or both legs, or one leg/hip that gets numb after sitting cross-legged for a while, it could be sciatica. This simply means that your sciatic nerve is being pressed down upon or “pinched” by tight rotators. Massaging through them can alleviate this pain. Note which hip is tighter than the other, since one usually is.
You can also use it on hands and feet. Other trigger points are on the hamstrings, IT band/sides of the legs, and calves. upper back, and especially the lumbar region. A tip to relieve tightness there: with the lower back lying on ball, round the lower back just slightly to press deeper, and wait until you feel the tension shift. Tingling and radiating sensation through the area is normal. Also stretch the hip flexors, which directly affect the lower back and are usually also tight.
Lying on the ball, leaning and pressing yourself into an area of tension, you want to try to relax other areas of the body. Also, support yourself on your hands and arms, and roll slowly over tight spots if you can. If you can’t manage this movement, which can be awkward (whether you’re using a foam roller or tennis ball), simply lean into one spot, then move the ball a half inch to an inch, then work through there, then do it again, and again until the tightness feels relieved. Keep breathing, exhaling slowly to send oxygen to the muscles, and take your time.
You can find more tips on using a tennis ball for muscle release here. But in general, that’s how you do it.
Note: For a more targeted, harder massage, you can also try this with a golf ball if you’d like. Be careful, though, don’t injure or bruise yourself, since they are much harder. Remember that more is not necessarily better when relieving muscle tension! A tennis ball usually works just fine.
Chronic muscle tension can really alter your posture over time, affect fat and cellulite distribution, facility of movement or “muscle economy” and stamina, flexibility, and overall aging. Working to relieve this will keep you dancing, and feeling and looking good for years to come.
For more thorough work to truly loosen up your entire body and eliminate negative, stored-over-time muscle and connective tissue tension, consider a system like rolfing. Rolfing, also known as structural integration, works through the connective tissue, which connects all muscles and bones, rather than only the muscle system or skeletal system. For many dancers, athletes, and non-dancers, it has been a huge difference-maker in performance and posture. As little as one, two, or three of the ten recommended rolfing sessions can truly make a difference in comfort and posture. You can find a local rolfing practitioner at www.rolf.org.
A tennis ball can be an easy, DIY option that’s surprisingly, incredibly effective. The idea is to address tightness in the body early on, before it manifests as injury or chronic discomfort. Whatever massage or tension relief method you choose - stretching, tennis or golf ball, rolfing, spa massage, some or all of the above - take care of yourself! And continue to take note of the new freedom it can allow you to feel in your muscles, and in your body overall.
At the Longacre Theater in the Broadway theater district of New York City, the talented international cast of Burn the Floor recently scorched everything in sight. In this innovative ballroom extravaganza, expertly choreographed by Jason Gilkisson, nothing was off-limits. Nearly all of the reviews for this show, which has traveled around the U.S. and world already, have been raving – it’s been called “hot,” “sexy” “theatrical” and “amazing.” The cast of dancers from around the world has truly been praised around the world. When I attended the show during the holiday season, in its final weeks it certainly lived up to these positive reviews - what an exciting show it was!
Musically, the performance dazzled with an opening ChaCha number of intense, live percussion – wonderfully performed by the two percussionists who accented the recorded score throughout the show. In the opening, the dancers expressed the rhythms by dancing up and down the aisles, as lights flashed and spotlights alternated upon them. The female dancers wore two-piece, asymmetrical outfits, revealing fit bodies in top form. One would expect so, from a cast of title-holders, high-level, competition-circuit dancers performing every day, often two times per day, in such a demanding performance that called upon all their years of training and technical skills. They exhibited serious athletic prowess to loud, pulsating beats - filling the relatively small theater - with the lights and drums creating a stirring, heart-pounding visual spectacle. The excitement at the start of the show was palpable. After the final pose, the lights went down, but the noise stayed up when the audience erupted into applause. This set the tone for the rest of the evening.
Right afterwards, with her full hair styled in cascading waves to match her graceful, layered gown, out [Viennese] waltzed guest start Mary Murphy, of So You Think You Can Dance fame. Years after her competing days, and performing in the same show as younger dancers in such amazing shape, Mary needed to execute. She did, and quite well; perhaps she didn’t have the performance quality of the older women, but she glided nicely, had lovely carriage, and looked quite beautiful. The change of pace also prepped the audience for sensual musical numbers such as “History Repeating” (used as a Viennese waltz, foxtrot, swing, lindy, jive, samba, rumba, chacha, and samba – what creative use of music!), and the up-tempo Brazilian classic Magalenha.
Also included in the first act was a sexy rumba, headed by a blonde female dancer with wonderful leg lines, tall posture, and gracefully extended neck carriage. Wearing a black blindfold, she was passed around to six shirtless ballroom men. They created interesting latin shapes and formations, performing in the midst of a stage fog to stormy, dramatic music. The sensuality and risqué feel of the piece, combined with Gilkisson’s interesting pictures, wonderfully delayed musicality, and the dancers’ extended, well-placed lines all together made for a captivating and memorable piece.
The talented male and female singers, Ricky Rojas and Rebecca Tapia performed the vocal songs live, and really added to the show. For the song “Fishies,” the male singer came back over and over to the line “Welcome fishies, to my hook.” In this lively jive number, an especially nimble, agile male dancer courted multiple women at a swing club with his jumps, kicks, and fast feet. He partnered with many of them, sometimes three at once. Their brightly colored dresses twirled and helped to create the greater formation pictures across the stage.
And finally, guest stars Maxim Chmerkovsky and Kym Johnson of Dancing With the Stars also performed multiple times throughout the night with the cast. They did a modern-inspired duet together to the song “Burn For You,” and were featured especially in the other Latin numbers. Kym looked gorgeous, and Max especially exuded his trademark dance floor masculinity. Karen Hauer, a top American rhythm competitor and recent contestant on SYTYCD, was also seen. Naturally, the audience responded well to the familiar faces.
There was a little something for everyone. Cha Cha, Rumba, Salsa, Samba, Tango, Paso Doble, Waltz, Jive, formation changes, wardrobe changes, live music, hot men, beautiful women… Burn the Floor lived up to the hype. The fairly small Longacre Theater reverberated with the vibrations of great dancing that evening. By the high-energy song “Club le Narcisse,” with more intense percussion and sexy choreography using chairs, and the finale of “Turn the Beat Around,” the audience was mesmerized and ready to rise into immediate standing ovations. From the performers, along with Gilkison’s choreography, to the costume designer(s), and live singers – everyone seemed to be doing what they loved. And Passion is infectious, inspiring, and memorable.
From the tips of the dancers’ fingers to the walls of the theater, all the way out into the street where the stars – including the famous guest stars – came to greet eagerly awaiting fans, sign autographs, and take photos… the energy of Burn the Floor was palpable. The stardust that they threw into the air will continue to shine for many more audiences, worldwide.
Burn the Floor is currently on World Tour! Find information, including tour dates and locations, at www.burnthefloor.com.
For the 25th anniversary of the legendary Joyce Theater in New York City, they extended an invitation to Bill T. Jones/Arnie Zane Company. It was only fitting, since the renowned, New York-based modern company is also celebrating its 25th anniversary. When the company was commissioned by the Ravinia Festival in Highland park, IL to create work honoring the bicentennial of Abraham Lincoln’s birth, they responded with three new pieces. Among them was Serenade/The Proposition, which they performed from November 10th - 15th at The Joyce.
The performance piece (interestingly, originally created and rehearsed in 25 days) explored “the nature of history.” It asked questions about what we know, what we think we know, and what we remember, while looking at the civil war, the late 1800s, and the role of Abraham Lincoln as a significant figure in the shaping our history from then to today. Live music – including beautiful new compositions - from a cellist, piano player, and classical female vocalist were accompanied by poignant speeches and poems, by and about Lincoln, history, America, and the time period, and recited mostly by the vocalist and a charismatic male narrator.
Meditations on race, change, and Lincoln’s life melted together in the very contemplative work. Said Associate Artistic Director Janet Wong: “We want to talk about our distance, first of all.” Repeating a line from the performance speech, Wong said it is about: “‘That woman,’ and me. ‘That man,’ who remembers his third grade class about that great man [Lincoln.] What do we remember? And, what has meaning for us?”
The show began with the dancers dressed plainly, in warm-ups and dancewear. At first, “they are who they are: modern dancers,” said Wong. They then appeared fully dressed in 18th century-styled dress that suggested period. The resonant audio of musicians, speech, and singing emotionally drew the audience in and led the performance through the wonderful crescendos of each visual phrase of dance.
The dancing often moved diagonally across the floor - an artistic decision was made early in the company’s research, Wong explained in the “Dance Chat” following the performance. Lincoln stayed in a guesthouse the night before his assassination, and being such a tall man in a bed too short for him, he had to sleep on a diagonal, so the dancers symbolically also moved on a diagonal. They also often came together and, in a collection of energy, yelled “Hey!” before passing across the stage again.
There was a great respect for fall and release technique, especially release into the floor; the dancers surrendered to gravity in the partner work. And yet, there was a sense of weightlessness, with graceful upper body lines. Dynamic video projections, created by Janet Wong, played throughout the show, in sync with the music. The use of multimedia, now very common in dance, was a tool to instantly change backgrounds and transport the audience.
The costumes suggested period, as they were designed to do, without encumbering the dancers or distracting from the themes and performance of the work. Seeing the great movement of the eighteenth century style large circle skirts (and petticoats) and dresses on the women, and the classic jackets, collars, sleeves, and slacks on the men - you would never even know that they actually had no budgets for costumes. “We actually went into our storage,” said Wong. Things were loaned, items borrowed from here and there, and then color introduced – red in particular. Their ideas were shaped using what they had to work with.
At one point, the narrator said: “History is knowing nothing, to believing nothing.” Such weighted words were paired with tragic civil war imagery - especially of the female dancers as women surveying fields of the dead looking for loved ones - and the clear but emotionally weighted tone of the singer – especially as she sand the “Battle Hymn of the Republic.” The topic of “this republic of suffering” - torn apart by the war - was pervasive.
The male speaker also read this poignant statement: “This history is a place in which all truths are self-evident, and yet each one must be proven.” It was a fitting and memorable quote, settled between moments of dance, music, and imagery that questioned and reminded us about previous times of revolution, racial tension, and change, while forcing us to look at where we are now. When asked about the nature of freedom and justice, and what of history we all need to know to appreciate it, Mexican dancer Erick Montes responded during the Dance Chat by saying: “You need to know what relates to you… I believe that evolution comes from revolution. You need to know enough of the truth to fight for it.”
It all came together, in a show containing peaks and valleys of emotion, moments that gave chills, and ultimately, a beautiful presentation of racial harmony. The company is diverse in appearance, and that overtone of diversity added to the themes of their latest work in a fitting, even poetic way.
For more information on the company, including their history/mission statement and more, visit www.billtjones.org. To see upcoming performances at the Joyce, visit www.joyce.org.
If you want to be a good dancer, you have to have good plié. It’s in everything, and in all styles of dance.
Pliés are a universal ballet class exercise - most dancers always start ballet class with this simple bending-and-stretching movement. Ballet dancers have great bodies, not to mention great control of movement. So, if they never fail to do it with every class, that’s an indication that it’s an important exercise - and it’s good idea for you to add it to your workout too!
The reason pliés are so good for stretching and toning is that they are an isometric contraction. Master ballet teacher Finish Jhung writes that an isometric contraction is one “in which the opposing muscles are so contracted that there is little shortening but great increase in tone [i.e. visible definition/strength] of muscle fibers involved.” On the way down in a demi-plié in first position (hips and knees turned, heels together), the hamstrings (muscles at the back of the thighs) resist gravity, while the quadriceps/extensors of the knee (muscles at the front of the thighs) stabilize and also work in a lengthening contraction. On the way up, the same muscles contract in a shortening contraction. During a slight hold in plié, a static contraction happens with the same muscles. They are constantly being worked - the thing to remember is that the same muscles that get you down there are the muscles that hold you there and bring you up from there, as Salley Sevey Fitt writes in Dance Kinesiology.
While dancing, the legs constantly change from straight to bent at the knee and ankle, so the muscles must be properly developed to plié properly. However, most dancers do it incorrectly. Writes Jhung, “they sink down with relaxed legs, and sit at the bottom of the plié, then jerkily return to a standing position.” So how do you do it right?
Note: First position is hips turned out, heels together, second position is hips turned out, heels wide.
1. Start in first position or [wide] second position. Align the knees over the toes - you’ll maintain that alignment as you plié. Stand tall, shoulders back and down, abs tucked, back straight and strong yet relaxed. Your arms can hang loosely, or in a gentle downward arc with the thumbs slightly tucked and the fingers gently placed, hands in front of the pelvis - this would be ballet first position of the arms. In second position the arms would go out to the sides and be slightly bent, elbows higher than the wrists, palms gently angled downward with delicate hands. If you want help with balance or haven’t done pliés before, place one hand gently (no leaning or pushing) on a chair or other support, or face a chair or bar and place both hands on top of it.
2. Lower slowly, continuing to feel energy from the crown of your head rising toward the ceiling. Do not let the ankles and knees roll in, or pronate - control this always, and do not force turnout. Remember to keep the knees aligned over the ankles and toes. Do not let the pelvis tilt, and keep the hips and glutes under the shoulders. Use your “seat muscles,” or the muscles at the top of the hamstrings where the glutes and thighs meet, to control the movement.
3. Once you reach the bottom, recruit deep, stabilizing muscles in the thighs to return to the top while maintaining turnout. You’ll feel sensations in the outer glutes, or rotators, and in the inner thighs, as well as in the quads and hamstrings. (See? What a comprehensive exercise!) Again, do not tilt or allow the upper body to lean forward or backward. Continue to feel the neck long, the head lifted high, while your strong legs propel you slowly back to the top of the movement, to your original position.
One, two, three - It should look seamless. As Fitt writes in her description, “going down in plié is giving into gravity with control.” This action involves the hip, knee, and ankle joints, all in alignment from the hip down. Coming up, it’s the same - you rise and resist gravity with control.
You can do three sets of 8 to 16 demi-pliés in your next workout (or better yet, hit a ballet class). You’ll feel them! The movement may not look powerful or grand (unless you’re doing a grande plié, which requires even greater control, especially without the assistance of a bar) - in fact, it may even look easy to you at first glance. But it actually requires such recruitment of the muscle fibers from each area of the legs and hips that it’s truly a challenging exercise.
Pliés will make you a better dancer, and help you get gorgeous, toned, “dancer’s” legs that look muscular without bulk. What’s not to love? Start doing them now, and keep at it - pliés are a great go-to exercise that will challenge you and keep you dancing for years to come.
For more tips on correct plié, read Finis Jhung’s article here.
The venue with the live salsa band is fun and exciting. But remember the first time that great song seemed just a little too long? (”Omg, this song is really long…”)
And remember how you found yourself wondering when it would end? (”Do I hear the ending coming yet? Oh that sounds like the ending! Aw, man, it’s just another percussion solo. Okay, keep dancing, keep dancing, c’mon look alive… Dance, dance, you can do it!”)
Oh, and remember the time you seemed to be dancing with a salsa-fanatic energizer bunny to a really fast one, and to your dismay, he just wouldn’t slow the pace? (”Where does he get all this energy from!? More turns? Seriously!? Okay! 123, 567, 123, 567…”)
Oh and there was the one with the really bad lead that one time… let’s not even go there.
Admit it, the extra-long songs by the band still sometimes drive you crazy. Those 12 minute songs aren’t so fun if your stamina is waning at six minutes in. So how can you keep up? You can train and prepare in such a way that they don’t even phase you.
Interval training. Interval training, or HIIT (high-intensity interval training), as it’s also known, is an anaerobic form of exercise that has been proven to improve stamina for aerobic endurance activities. (It also raises metabolism and increases your fat-burning potential - another plus.) Dance is technically an anaerobic form of exercise, because it is often done in bursts of activity followed by rest periods, but it’s not as intense or regulated as deliberate interval training. So, next time you’re in the gym, you might want to try it.
General fitness interval training might consist of walking for one to three minutes, jogging for 30 - 60 seconds, and then walking again (this sequence repeated over a 30 to 60 minute workout). HIIT, which is more intense and more effective, might consist of bouts of running followed by bouts of sprinting. It’s also often done in 2:1 ratios of time (as in, 60 seconds of jogging, 30 seconds of sprinting). HIIT is hard work - but that’s why they call it “workout.” It also offers many benefits that can be reaped by average exercisers, dancers, and trained athletes alike. For workout ideas, including time recommendations for different fitness levels, consult a trainer, or try a Google search.
Hydration. Every function in your body depends on the flow of water. Nothing can replace drinking water. (And, if you drink caffeine, which most people do, you probably need even more water.) Arrive to dance hydrated, and keep drinking throughout the night. Always keep your reusable glass bottle near the dance floor - glass is good because it won’t leach any toxic chemicals into your water, and because it cuts down on plastic waste that accumulates every day in landfills. Getting a glass bottle is easy, too - next time you run out of a recent buy that came in glass, remove the label and keep the glass bottle as a reusable!
A B12 Shot. (No needles necessary.) This vitamin is involved in energy production in your body every day. Rather than doing it celebrity/Hollywood-style and getting an actual shot, you can take a “shot” of B12 through a vitamin supplement.
B12 vitamins are often taken as sublingual supplements, which means that they are dissolved under the tongue, as this has been suggested to increase the speed of absorption into the bloodstream. Additionally, B-complex supplements (also useful for energy) and B12 vitamins offer it in varying amounts, some being very high - there are no known toxic effects from B12, and no known toxic levels of B12 (some sports drinks even contain very high levels). It can be taken in different forms as well - capsule or liquid, for example. Many who take B12 find that the extra energy and mental focus it gives enables them to breeze through workouts (like dancing the night away) without the jittery feeling that comes with caffeine, as well, although it should be noted that this is individual. If you’re interested in taking a “shot” of B12, search around online or at local health food or supplement stores for an amount and price that works for you.
In addition to training and preparing to dance out those long songs, you can also just make sure you’re pacing yourself as you dance, perhaps especially so during shines. And, as always, allow yourself to get lost in the music - when that happens, you sometimes can get to the magic place where you seem to feel no fatigue. You dance so well for so long, and you feel so good, that you’re wondering where all that energy came from. Then, it’s when the song ends that you finally realize “Wow, I’m tired!”
But by then, who cares? You can relax and take a little break - before you get up to do it all over again. May you continue to enjoy many songs, and many long evenings of great music and great dancing.
Every now and then, some women go out and hear the frustrated wallflower in their heads. It’s the voice that says, wistfully: “C’mon, ask me to dance… ask me. ASK. ME… Argh, why won’t he ask me? I wanna dance!” Next song, maybe. No? Next one after that… “I’m going to circulate the room,” she thinks, motivated to hit the floor. For some, the night gets luckier from there, because they do get asked. For others, it gets luckier because - in frustration - they get over any fears of breaking tradition and say to themselves: “Forget this, I’m going to ask a guy myself!”
But there are a few things you can do to make yourself more approachable (and a number of things not to do, in order to avoid wallflower-status). How do you get asked to dance?
Well, for starters, don’t hang out extra far away from the dance floor. Once you’re sure you aren’t doing that, don’t cross your arms. (If you’re standing and hoping to be approached, but your arms are crossed, you are putting up a barrier with your body language. This defeats the purpose of standing anywhere near the dance floor and hoping for a dance.)
Don’t stand around in groups of other women laughing and chatting; move away from the circle of female friends. (You would usually avoid large groups of other females if you were at a party and wanted a guy to come over and flirt with you - this is essentially the same.) Don’t hang out on only one side of the room either. If you aren’t getting asked, staying where you are won’t help (because ‘doing what you’ve always done will get you where you’ve always gotten’ [Anthony Robbins], and ‘doing the same thing over and over and expecting different results is the definition of insanity’ [Albert Einstein]). Circulating the room is, indeed, a good idea. Remember to put the drink (and/or the phone) down, as well. This frees your hands for invitation and prevents you from looking preoccupied.
Sitting is fine, but probably not if your chair is far from the action. Standing is preferable. And, for the sake of looking ready for said action, you should move slightly to the music. Feel the rhythm, sway and groove. Look alert, keep the arms open (uncrossed), look lively and ready to move as you enjoy the music solo. Scan the room slightly as you do this. All of this body language says “I want to dance,” and it’s inviting.
Once you see an opportunity that suits your fancy, make eye contact as he comes your way. Both of you will be able to tell that it’s time to dance, and those seconds of eye contact just before you officially decide to take the floor together will seal the deal.
One more quick tip - dress to impress (we can help with that). If you look nice and exude confidence, men are always more likely to approach to you.
Those are some of the easy ways to make yourself naturally more approachable for potential partners on the dance floor. If you see someone you’d like to dance with, these tips - eye contact especially - will usually open the door for him. (And remember - it’s nice to have men ask you, and they typically do the asking. But, if all else fails, you can actually extend the invitation from time to time, of course!)
Ultimately, there’s no need to strike up an awkwardly loud, over-enunciated conversation over the louder music, and no need to know your partner beforehand (if you want to introduce yourself, you can always introduce yourself just before, during, or after you hit the floor). There’s no need to talk about it or qualify a social dancing invitation with words, either. After all, dance is a universal language.
You may have seen Carolina Cerisola recently on World Superstars of Dance, representing Argentina as a solo. Or you may have seen her in a recent e.K. Clothing blog post video showcasing our skirts. Now you can get to know her further. Take a moment to read our interview with this talented young dancer.
How long have you been dancing, and how old were you when you started?
I have been dancing for 13 years, I started when I was 16 years old.
When did you know that you wanted to do this professionally? I didn’t know this was going to be my profession. It just happened. When I was 16 I started and a few months later, I started doing shows and working as a salsa dancer in the best salsa clubs in Buenos Aires. At that time, it was more of a fun thing to do than a profession.
Tell me a little bit about your professional career (share some highlights with us). I am just so surprised how my career [has] worked out. I was a salsa dancer for 5 years… I got to dance with Johnny Vazquez, and then life took me to a different direction-into the Burlesque/Cabaret world. At 21, I discovered all the Bob Fosse movies and that became my passion-along with the art of performing with live musicians.
My dancing has given me the chance to dance with talented artist like Sting, Justin Timberlake, and Mick Jagger, and the chance to collaborate with Heath Ledger.
One of Carolina Cerisola’s & Johnny Vasquez’s winning performances at the 2001 Mayan Salsa Championships
How has dance changed your life? Dancing changed my life! I don’t know who else I would be with out it. I just can’t imagine. Dance is the way I express my emotions of anger, happiness, sadness, etc. It’s everything to me! I lose myself in it every night I perform.
What kinds of clothing do you like to wear while dancing?
The kind of clothing I wear is very important, especially when I perform. It puts me character and determines how I am going to dance. It changes my moves and it inspires me to dance differently. I really like to wear leotards.
Besides salsa, what are your other favorite styles of dance?
I love jazz and Fosse style [jazz].
Tell us what’s coming up for you, career-wise.
Career wise, I’m not sure, but I know I am going in the right direction (where ever that may be). Life always takes me to the most unexpected places, so I just let it be that way. I have been producing a night once a month call THE FLOOR (myspace.com/thefloorimprovnight) with my partner Sascha Escandon, and since last year our goal has been to produce live shows anywhere in the world.
Quick Q&A:
Zodiac sign: Sagittarius Nationality/hometown/where I grew up: Argentina, Buenos Aires Favorite hobby: Cooking What I do to relax: I go to the Korean spa. I go to this specific one called NATURA and get a body scrub and massage. Scariest moment from dancing: Knee surgery, end of 2006 Best memory from a town I danced in:In Italy with Johnny Vazquez, and working with the most amazing dancers in Cuba shooting a music video for Zucchero Must-have back-stage/pre-performance ritual: Pray What I like to collect: Great experiences Favorite guilty pleasure: Food of all kind Favorite song:“La Belleza” by Silvio Rodriguez y Luid Eduardo Aute Favorite time of day: Morning Favorite city: Buenos Aires What I would do with more free time: Travel the world Favorite pastime: Sleeping Favorite ice cream flavor: Dulce de leche Favorite animal: Dogs Favorite music: All kinds Favorite subject in school: Writing Favorite thing to do on weekends: Swim in the ocean, paddle boarding, mountain biking, etc. What makes me happy: My friends Major goal(s) as a dancer: Produce and direct
Carolina and her partner Jordi Caballero performing an amazing Tango routine
You can find out more about Carolina by visiting her website, www.carolinacerisola.com, or her MySpace, www.myspace.com/carolinacerisola. See more of Carolina and Christian Oviedo improvising after our shoot here.
See? At e.K. Clothing, we dress the best - and the rest. For affordable, stylish dance wear sure to satisfy all bodies and dance levels, shop now at www.ekclothing.com.
Every March, a metropolitan college town in the middle of Ohio is transformed when the Arnold Sports Festival (aka the “Arnold Fitness Weekend”) takes over the Greater Columbus Convention Center. Originated by Arnold Schwarzenegger, it includes the largest fitness expo in the world, with about 700 vendor booths. An estimated 165,000 visitors and 17,000 athletes attend viewing and participating in many sports, from archery to cheerleading. And, of course (with Arnold’s bodybuilding legacy), there is the professional and amateur men’s and women’s bodybuilding, and women’s fitness and figure competitions.
At the Arnold Juvenile, Junior, Youth, and Collegiate Dance Sport Classic, visitors can also enjoy watching impressive youth dance sport competitors. At this year’s Arnold Classic, I spoke to youth competitors, parents and coaches about what’s appropriate and expected for youth dance attire. (We’ve recently introduced a kidswear section at e.K. Clothing so it’s only fitting that we bring you this relevant content).
Alexandra Gutkovich, 9 (but turning 10 this month), and John Gaylan, 13, are a compact pair at about 4, 4″ and 4, 9″. However, their size means little - they dance with incredible power and precision that rivals their longer-limbed competitors. As winners of the J4 Latin 3-Dance, and the J4 Latin 5-Dance, they looked coordinated and smooth in earth tones of green and brown. Halina Gutkovich, Alexandra’s mother, said that her little girl should wear for practice “something comfortable” that “still looks beautiful.” She added “It’s a beautiful sport, and presentation and beauty [are] a big part of the sport, and practicing is also a big part of the sport, so she has to look beautiful all the time.”
Alexandra said that she prefers a “fit” look. Her young partner agreed; although he is extremely adept at guiding her around the floor, he added: “I wouldn’t really want her to wear… like, a very loose, baggy kinda thing, it would be harder.” He did say that it depends on the fabric, but generally prefers that it be “stretchy and light.” And, rather than Alexandra showing movement through loose cuts, “usually, I’ll wear either fringes or ruffles,” she said.
After a special showcase performance for event founder and Governor Arnold Schwarzenegger, Arnold Youth DanceSport competitors Alexandra Gutkovich and John Gaylan, ages 9 and 13, are greeted by the man himself at the 2009 Arnold Classic
Benito Garcia is one of three coaches for the fantastically talented competitive team. He mentioned a preference for the couple to wear “mainly dark gear, black, so they can see the line much better close, as well as at a distance. It’s mostly about the line… They’re being judged, so they need to be able to present the line at a distance. Appropriate practice gear is a big part of that.”
He values a “covered & simple” look, especially for the youth. Simple… understated. You know, keep it very classy. That’s one of the great things about this sport - it teaches elegance, class, honor, respect.” And, of course, as a knowledgeable coach, he reminded that “comfort is very important because if they’re not comfortable, they’re going to show it in their expression.”
That’s right, parents - keep it simple, classy, and appropriate for the age and dance-level. For great youth options, check back for more of our girls designs. And, keep the little ones dancing, as they build the confidence in how they move, and in how they look.
Next week: Fit women, including top fitness and figure competitors at the Arnold Classic, talk about dressing a more toned physique, and their everyday personal style.
Rehearsals are like intense dance classes. Dancers need to focus and commit movement to memory, constantly thinking of where they are on the floor or with their partner, where they need to be, and how that relates to the music. Whether a dancer is working with a dance team, dance company, or just preparing for a special occasion performance, practice is crucial. Top competitors like World Latin Champions Joanna Leunis and Michael Malitowski practice for six to eight hours a day. Champions know that it might take an hour or two to learn the choreography, but weeks and months to perfect it.
When the rehearsal gets long - four hours or more - being able to hang in there is about being prepared. Here are five tips to make it through a long rehearsal:
1. Drink water. Every process in the body depends on the flow of water. Even a 2% drop in hydration can result in a feeling of tiredness. It can especially affect your ability to balance and spot while turning. So, keep the water nearby and start sipping early.
2. Fuel yourself beforehand, and keep a snack nearby. It’s very important to make sure you eat before dancing. Without any carbohydrates, even moderate activity can result in hypoglycemia, a condition where blood sugar drops too low. This can make you feel tired, dizzy, stressed, anxious, irritable, and shaky. Get in a balanced snack within the hour before rehearsal. A 1/4 c. of oatmeal with plain yogurt and liquid or powdered stevia, or a handful of almonds, will do the trick. (A donut, with simple sugars and processed carbs that will bring your energy up and then quickly crashing down, will not.) Eat beforehand, and stay alert with another quick, light snack during rehearsal (a piece of fruit, like a banana - which replenishes potassium lost via perspiration - or an apple, is a good idea).
3. Warm up properly. At New York City’s Broadway Dance Center, dance classes that last 90 - 120 minutes often include warm-ups that last up to a half hour. Dancers need to walk in and get the body moving and the blood flowing - especially if it’s cold outside. However, don’t just walk in and drop into heavy stretching, because that shocks the body, and you could tear a muscle. Warm up by moving and engaging in progressively deeper stretches. Relax into them, breathe deep (exhaling sends oxygens to the muscles), and hold stretches, preferably for 30 seconds or more. Warm-up before you arrive if necessary, or if you’re in a hurry to begin, start practice with the easier movements. Either way, regardless of your flexibility level, make sure you warm up properly.
4. Wear comfortable shoes. There’s no need to spend all of your rehearsal time in 2.5 - 3 inch heels (although you do need to practice well in the shoes you’ll be performing in). Wear dance sneakers, greek sandals, or some other low, flexible and comfortable shoe. You want to ideally have some arch support if you’ll be dancing for a long time, to avoid excess pressure on the front and middle of the foot. Check out our wonderful selection of dance sneakers and practice shoes.
5. Wear light, comfortable clothing. It’s important that the material has a stretch, and avoid heavy material that might make you too hot. Start rehearsal in layers if you’re cold, or if you want to get the body warmer faster. All of our items at e.K. Clothing are made with a blend of polyester and spandex. This durable yet light and flexible blend of fabric doesn’t restrict movement. And, our designs will fall naturally against your figure - they flatter most body types. Check out our selection of stylish pants, skirts, and dresses at our online store.
Make it through those long rehearsals with proper nutrition and hydration, adequate warm-up time, stylish and functional clothing, and a little extra dose of mental focus. Add those elements together, and the immediate result will be an easier rehearsal. The eventual result will be a gratifying, quality performance that shows off your skills. After all, a well-rehearsed dancer is the one that can really impress the audience and be expressive (rather than distracted or worried) during performance. Practice well, and they’ll be wondering how you made it look so easy.
Dancers on stage at the 2008 Chicago Salsa Congress, Steve Starr Photography
Stage performance demands many things from a dancer. They must know their choreography well, and remember to express the emotion of the dance. They must keep time and stay “in the music.” They must maintain control, balance, and technical skill while striving for artistic moments. And, regardless of theme, there is an emotional vulnerability to performing - those who step on stage are presenting themselves to be judged. And then once it’s over, it’s not really over - they still must remember to hold the final pose, and then salute the audience (usually with a bow) before exiting smoothly.
With all that to think about, who wants the costume to get in the way? Stage performance also demands dance wear that can do many things. Great dancers know that performance wear requires form and functionality. At the 2009 Chicago Salsa Congress, I spoke to some of these great dancers and performers - Katie Marlow, Gaby Bernal, and Griselle Ponce - to ask them about their performance wardrobe.
Billy Fajardo and Katie Marlow, world-renowned performing arts specialists, were top-level performers at the 2009 Chicago Salsa Congress
Billy Fajardo and Katie Marlow, performing arts specialists and top-level congress performers have years of professional experience in theater arts, a dance style that is full of lifts and tricks. “When you go up in the air, things definitely change,” said Katie. It’s important “that the costume is tight-fitting in certain areas, so that if he needs to grab me in certain places it’s just not going to move.” And rhinestones, although glamorous, can be a hazard or inconvenience in this case, so they “need to be really well-placed,” she said.
A heavy skirt can really get in the way, so she said that lighter fabrics are preferable for lifts and tricks. On stretch, “It depends. I mean I deliberately did not make my skirt [for that evening's show] really stretchy, because then your heel could get caught in the stretch fabric… for that kinda thing it’s better not to have stretch fabric.” However, she “absolutely” prefers a stretch for tighter costumes.
The addition of accessories depends on the routine: “When you’re doing the kind of work that we do, obviously nails out to there is not gonna work for that.” Neither would really large earrings, or bulky belts, she mentioned, because they can get in the way and possibly get caught on the costume.
“I do have things that are sort of bra-like, you know bustier or bra-like, but they’re usually attached to other fabric, whether it’s like nude… sheer-nude, or something like that, so you don’t see what’s around it, but it’s definitely connected to something.” She will also use a double-sided tape to make sure that it is secure. On hair-related accessories, she said: “Tonight I am [wearing] a flower. But normally… it really depends, I have to be really careful.” (The moral of the story? When doing tricks, “You always need to have attention focused slightly on safety.”)
Gaby Bernal, of the famed Salsa/Quebradita duo “Victor & Gaby,” had a relaxed attitude about accessories. “For me - no es necesario,” she said. (She doesn’t even prefer to wear earrings.) She added in Spanish that they they aren’t convenient “for a dance that we do like Quebradita, because there are many tricks.” They also prefer revealing costumes, in part because of convenience. The key for Gaby in stage dance wear? “Que se ha comodo, comfortable, para mi, para poder bailar.”
Griselle Ponce and partner (left), Gaby Bernal and her partner Victor (right)
For well-known salsa goddess Griselle Ponce, it’s about self-expression: “When I’m on stage, it’s very important for me to feel very feminine, for me to feel like a woman, like a lady… that’s pretty much the aura I like to project.” With heels lower than three and a half inches, she said “I feel like I’m not dressed, I feel like I’m not accessorized correctly.”
Furthermore, she added: “When I say accessorize I mean my hair, the makeup, the stones in the costume… I don’t like anything that would interfere with my dancing.” Her advice is to “wear it if it looks good. If it’s a group, just try to accommodate everyone in the group. Anything that’s flowy is beautiful, but… if it’s gonna interfere with your routine, change it.”
When you watch her perform, she glamorously and flirtatiously tosses her long, dark hair. “I can’t put a lotta things in my hair, because my hair is super-heavy,” she added. “Anything I put in my hair falls out… even bobby pins they come right off. That’s why normally my hair is loose. Plus I like my hair loose. My hair gives me a lot of power on stage.”
Griselle even gave away one of her tricks of the trade: If the stage is slippery, she preps her shoes with castor oil. “You brush it first, then you put castor oil under the shoe, and then brush it again a little bit, and it becomes like a brand new shoe,” she said. “You don’t wanna dampen it because it’s gonna stop you from turning… It’s just gonna slow you down. You wanna cover the area, but you don’t want it to be wet… Try it it, you’ll see, it looks like a brand new shoe all over again,” she said.
Ultimately, when Griselle steps on stage, she said that “the outfit definitely has to express what you’re feeling, what you’re trying to project. Appearance and projection is one of the main things in choreography and performance - [being] in character. When you go out there, the first thing that they wanna do is understand, and if you have a costume that doesn’t relate to the movement that you’re doing, then it’s not the correct costume.”
In addition to expressing the movement and music well, performance dance wear has to accomplish many things. Perhaps Gaby put it best when she said that, while performing on stage, she likes to feel “feminina (feminine), comodo (comfortable), y libre (free).”
