Expressing Emotion in Dance

We’ve all seen performances that have moved us…ones where the dancers transported us until we truly believed their plight or believed in their love. I performed in my very first pas de deux in a piece of student choreography at Indiana University. The piece was set to music by Rachmaninoff, and I felt transported, personally. The movements felt wonderfully full of abandon and we looked into each other’s eyes—everyone said it was great.

Well, we had a cast party after the performance where we watched the video. None of what I felt inside translated into what the audience saw. It was embarrassing because everyone was watching me to see my reaction, and all I could do was burst into tears and run from the room. I’m sure my partner wasn’t happy about that, because he felt pretty good about it himself, but for me it was all wrong. It wasn’t anything like I imagined it to be. I looked like a clumsy first year pointe student trying to do something way beyond her means. Of course, my facial expressions couldn’t be seen, and what I was feeling inside was hidden away from everyone but myself—although even I couldn’t see that when viewed from the audience’s perspective!

I’ve had teachers who said we need to dance with our souls. But how, exactly, do we do that? My father taught speech in high school and I was fortunate enough to take his class one year. He said that when you’re nervous, you tend to do certain things that give away the fact that you’re nervous. Some people might play with their hair, or move their hands a certain way, or swallow loudly. He taught us that it’s perfectly okay to be nervous, as long as we don’t let anyone know that we are nervous. So, we practiced keeping our hands behind the lecturn if our bad habit was something we did with our hands while we gave a speech.

I think that can translate into our performing as well, in that we can keep from doing something that gives away our nerves and still be nervous without anyone guessing. When I was in graduate school I was doing the Black Swan pas de deux with my partner, and every night of tech week I had a friend videotape our performance. I’d go home and watch the tape and critically pull it apart frame by frame until I was happy with what I was seeing. There were many subtle things that I was surprised to see: my hands were not sharp enough where I felt that they were sharper, or the place where I walked backwards away from my partner, leading him on seductively and maliciously didn’t look malicious in the least. I found over the course of the week and watching the video every night after rehearsal that if I lowered my chin in that spot the demeanor came across much more effectively than when I just used my eyes. Everything we do on stage must be magnified in order to come across to the audience. This is, of course, why we wear heavier makeup, wear false eyelashes and extend our eyeliner to make our eyes appear larger.

The same is true for emotion. It isn’t enough to feel the emotion inside. We have to learn to project emotion, which can actually be accomplished without actually feeling the emotion! It is possible, I think, to make the audience believe you are a distraught Juliet by the way you move your body alone. I’m interested in hearing from other dancers and performers, too. How do you express emotion on stage?

[youtube=http://www.youtube.com/watch?v=1CztUJvmQX0&hl=en&fs=1&]

Pain Management

Dancers are often in pain. It’s a fact of life when you spend hours everyday pushing your muscles and bones beyond their usual limits. Sometimes running through a particular piece of choreography several times will cause muscles in a certain area to seize up. I remember longing for the day when I could be a “normal” person again: someone who would wake up free from pain and go about my day without taxing my body too much. Little did I know that my days would never morph into normality as I’d hoped, even after I stopped dancing.

Now I spend my days as a “normal” person, but it’s anything but the normal I dreamed about during my dancing days. As an employee at a bank, I work primarily at a computer. Any movement I make is one I force upon myself to take a break and get up and walk around. Unfortunately, my body has never really recovered from the abuse it took dancing. I’d like to do some research one day on retired ballet dancers and find out how many suffer from pain. Yesterday I read an article about Darcey Bussell; after being retired from dancing for two years she only exercises 45 minutes a week! She is determined to be a normal person, too. But back to my point…pain. How do dancers get relief from pain?

There are many things you can do to find relief—several of which I’ve tried. I can tell you what worked for me and then you can add comments to let us know what worked for you.

1. Chiropractic – Back when I was dancing, chiropractors were really considered alternative medicine. Today they have earned a more respectable place in medicine, and many primary care physicians refer patients to chiropractors. I’ve found that going once a month has been a good way to keep myself in alignment and to keep severe back pain at bay.

2. Acupuncture – I have a good friend from China who is an acupuncturist and I’ve seen her several times for back pain, ankle pain, neck pain, tennis elbow, depression, and what have you. She claims she can treat pretty much anything that ails you, and I don’t doubt it. Acupuncture can be expensive, and many insurance plans still don’t cover treatments. My acupuncturist actually doesn’t deal with insurance companies, so that makes it really hard for me to see her instead of a chiropractor, although sometimes I think acupuncture once a month would be ideal.

3. Massage – My healthcare plan allows me to see my chiropractor , who also employs massage therapists, and I can get an adjustment and a 30 minute massage all included in my $25 copay. You really can’t beat that, and the massage therapists there are wonderful. They target the areas where I’ve been experiencing the most pain lately. You have to feel comfortable telling them when they are pressing too hard or not hard enough. They can’t know unless you communicate with them, so don’t be afraid. Usually they are too gentle and I feel I could fall asleep since I’m so relaxed. This past month the girl was very intense and I was biting my tongue to keep from yelling out in pain. When I told her it was too much, she asked me if it was actually painful or just uncomfortable. I think that’s the way you can tell if it’s helping you or not: if it’s uncomfortable, it’s probably just right. I was actually in pain (with bruises to prove the point the next day), so she went a little lighter on the pressure after that.

4. Yoga – Sometimes just meditation and gentle stretching can relieve stress and tension. Using gravity to gently stretch out tight muscles while concentrating on your breathing can be a winning combination. There’s a lot to be said for meditation and pain, too.

5. Hot baths – Using Epsom salts in a nice, hot bath can be relaxing to tired muscles, especially at the end of a long day of dancing. If you’re pretty sure you’re going to be sore tomorrow, taking a hot bath tonight can help a lot. I like using REV for athletes. It’s a salt you can sit in for 15 minutes and it’s very helpful.

Check out these alternatives for dealing with chronic pain.

Does anyone else have ideas for helping relieve pain? Please leave a comment!

SaveSaveSaveSave

Dance Career Alternatives

Many dancers simply dance, without thought to what might happen if they became injured and unable to continue dancing. It’s important to think about alternatives to a dancing career, not only due to unforeseen circumstances such as injury, but after you retire from dancing at the ripe old age of forty or older (if you’re lucky). One of the best ways you can ensure continued employment in the field you love is to begin teaching dance. Ballet companies usually have a school associated with them, and this is the perfect place to begin training as a teacher. Being a great dancer doesn’t necessarily mean you will be a great teacher, but the best way to learn how to teach is to do it!

There are many wonderful books about teaching ballet. Some of my favorites include these:

Classical Ballet Technique, by Gretchen Ward Warren
This book goes into great detail about the tradition of ballet, the ideal body structure and posture for ballet, methods of teaching, positions of the body and when to introduce steps, and includes notes on classroom etiquette, a pronunciation guide, and glossary of terms.

The Pointe Book: Shoes, Training & Technique Second Edition, by Janice Barringer and Sarah Schlesinger with forward by David Howard
In this book you will find a history of pointe dancing, the foot and pointe shoe making process, the fitting process, caring for shoes, basics of teaching pointe, sample pointe classes, and pointe-related injuries and their remedies.

Technical Manual and Dictionary of Classical Ballet, by Gail Grant
You will find diagrams for directions of the body and feet. Arabesques, port de bras, and positions of the body are described for the Cecchetti Method, the French School, and the Russian School (Vaganova).

There are many other careers that are dance-related, too. Click here to see a listing. You may end up going back to school to get certification in physical therapy; you may decide to get a bachelor’s or a master’s degree in dance so you could teach at the university level; you may find that you have creative talent in the area of choreography; you might open a dance wear store, like I did. The opportunities are endless, and your expertise will be valued by beginning students and their parents, by audiences, and by school administrators if you wind up teaching, choreographing, or even selling dance wear (and knowing how to fit shoes properly).
Do any readers have ideas to share about alternative careers for dancers? Feel free to leave a comment below!

Life After Dance

horizon

I just learned that Merce Cunningham died last night at the age of 90. He danced until the very end of his life. This, in itself, is incredible. His legacy is monumental. So now I’m feeling a bit low, and wondering how he managed to stick with it into very old age. I’m thinking that Merce Cunningham created a way of moving that was specific to his body type, as he was known for a particular style all his own. Then there are people like me, who try to contort our bodies into shapes that were not meant for our body types at all—leading us to middle-aged back pain and chronic tendinitis.

What do you think? Even if you’re only seventeen, how do you see yourself in the future? Do you think dancing will be more an aid or a hindrance to your physical well-being when you’re forty years old? I had a chiropractor who talked to me when I was twenty-four. He said he was worried that I wouldn’t be able to walk when I was forty. I laughed. But now I’m forty-one, and I’m realizing he had a point.

I wouldn’t trade my years spent dancing or teaching for anything in the world. It’s the love of my life. But I can see how realistic the teachers are in Russia when they determine whether or not a child should begin studying dance by first looking at his or her proportions and physical tendencies. If someone is not blessed with a dancer’s body, they are not expected to dance. However, I’m thankful here in America we are all able to pursue our dreams, regardless of our potential.

How to Pick Up Combinations Quickly

I was reading someone’s blog the other day, and one of the comments was from a young dancer who was having trouble remembering combinations in ballet class.  I thought this would make a great blog post because I, too, was one of those dancers who stood in the back and tried to blend in. Eventually I became one of the quickest to pick up combinations and was no longer afraid to stand in the first spot at the barre or go with the first group in the center. Here are some of my ideas about how you can pick up combinations quickly. Continue reading “How to Pick Up Combinations Quickly”

Performance Butterflies: 10 ways to make them work for you

Every now and then I get the itch to go back in time. I put on an old VHS tape from my ballet dancing days–mostly what I have on tape are from performances at the University of Arizona when I was working on my MFA degree–and I can’t believe the courage I had back then. It was common to work with other graduate students, performing their choreography so they’d reciprocate the favor, and I often worked with a guy named David Woods. We were usually paired up for partnering anyway because of our heights (suffice it to say he was not a real tall guy and I was always one of the shortest dancers around). But some of the stuff that David came up with was really nuts! I remember him describing what he wanted to try, and I’d just shake my head and say, “Impossible!” He would let loose his funny little laugh, then get all straight-faced and start explaining the mechanics of the move in question.

And we’d do it.

Maybe partly it was a trust thing; I worked with him everyday and we rehearsed so much it practically became second nature by the time we performed his crazy little notions in front of an audience. We were also in incredible shape back then. I have to remind myself that at one point in my life I really had some major control of my body. And with a partner giving me the edge I needed, there was no limit to the number of finger turns or pirouettes I could pull out, or the length of time I could hold a pose. My strength and flexibility were taken for granted back when they came so easily–you should see me sweating like the overweight, over-the-hill, mother-of-three that I am today during just the first five minutes of yoga class. On second thought, no, you shouldn’t.

There was more to it than that, though. We were just as likely to miss as we were to hit some of the stunts we did in rehearsal, but in front of an audience we almost never missed. There was the arrival of an extra power within that always showed up just in time to lasso the butterflies from overdrive into automatic pilot. My body knew what to do; every minute on stage had been rehearsed hours on end for weeks leading up to that minute. But looking back, I remember there were steps I took to ensure that would be the case before each and every performance.

1. Don’t take yourself too seriously. I mean, really, what’s the worst thing that could happen? And if you know of things that could go wrong, make pretty darn sure they don’t. (Double fold the ribbon before sewing it to your pointe shoes, stitch the ribbons after you’ve tied them so they can’t come unraveled on stage, put the extra pins in your bun and use a hair net to firmly secure it, etc.) My dad taught theater at the high school level and even though he tended to worry about every last detail, when it came down to performance night he always had a saying that I repeated to myself before stepping on the stage: It’s just a show. With emphasis on the word ‘just’.

2. Warm up thoroughly. Take class with the cast before the show. Not only does this make you part of a team, it shows you have respect for whoever is teaching. By all means, if the teacher asks for something you know will pull a muscle before you’re sufficiently warm, modify it until you’re warm enough. Most teachers won’t do this as part of a performance warm-up, but if they do then you are fine to lower the extension from 90 degrees to 45 if you aren’t ready. By the same token, after warming up with the cast go over the choreography that tends to trip you up. Practice that big lift with your partner just to make sure you’re both feeling it right. Whatever. Just make sure that before you step onstage in full make-up and costume that you are really warmed up.

3. Make a list and check it twice. This is before you even set foot in the theater. There’s nothing worse than finding out you have only one pair of tights and there’s a big run in them. Have plenty of extra pins, all your make-up, all the pieces to your costume, extra tights, shoes, and whatever else you may need so you don’t go into panic mode thirty minutes to curtain.

4. Give yourself plenty of time to get into make-up and costume. If you have a quick change, do everything in your power to make it as fast and painless as possible. Usually there are people around backstage who will assist in such a case, so you don’t have to spend time and energy trucking back and forth to the dressing room. Make sure to practice with them at dress rehearsal so they know the drill.

5. Spend a few moments alone.

6. Meditate or pray. Clear your mind. When you do this is totally up to you. I usually made sure I had some time to just do my own thing or hear my own thoughts for a while before making my way to the stage door. If not, then I would simply close my eyes in the wings and take a few deep breaths to put everything in perspective.

7. Put your trust in something greater than yourself. My dad always said the audience was the magic ingredient, and I tend to agree. They want you to succeed; nobody goes to the ballet to hold onto their theater seats wondering if you’ll come out of that lift alive or not. They know you will, and you’ll do it gracefully! Just deliver what they expect and you’ll be fine.

8. Don’t second guess yourself. If you’re doing a part that you think someone else was more qualified to perform, well, you weren’t the casting director, were you? No artistic director will put you in a role that they don’t believe you can pull off.

9. Be in the moment. I remember one night when David and I were dancing the Black Swan pas de deux from Swan Lake (and dang if it wasn’t a dress rehearsal that no one got on tape!) and we were so in sync with the music and with each other…we were so ON it was almost scary. It was the closest to perfection I’ve ever come in my life, and I’ll treasure those few minutes always. I was in the moment, enjoying the fruition of all the hours of labor leading up to that point in time.

10. Never let a mistake show on your face. Unless you’re in the corps, supposedly doing the same thing as the other ten or eleven people on stage, if you mess up no one will even notice…if you don’t show it in your face. Stay in character always, and immediately forgive yourself for any mistakes you make. There’s nothing more capable of ruining a performance than berating yourself mentally over a small mistake that probably no one even noticed. Remember that what is past can’t be changed; it can affect the future only if you let it.

Even though I haven’t been dancing professionally for the last several years, I’m sure many of these are time resistant and would still apply. And not only would many of these steps be helpful to a dancer preparing to take the stage, they could also help anyone who has to suffer the effects of butterflies: someone preparing to step into an interview, or walk down the aisle at their wedding, or call an agent about a book they’re hoping to publish.

Any other dancers out there who have more tips to banishing the butterflies? Please leave a comment!