My Favorite Dance-Based Workouts

I’m just not a gym-goer. I never have been. Even when I lived in an apartment complex with a small free gym for its tenants, I just didn’t go. Working out needs to be fun, and for that, I need to be in a class with other people and an entertaining teacher. And I love dance!

So was so happy when I moved to L.A. to find an absolute abundance of dance-based workout classes. There are a bazillion, and I tried practically all of them. My favorite quickly became Cardio Barre (pictured left).

It’s very ballet-based. One of my teachers actually calls it “ballet on crack!” It’s basic ballet – with tendus and grand battemants and deep plies and arabesque holds and kicks and releves for calf strengthening. They teach you what everything is when you take a class; you don’t have to know the terminology! But unlike a regular ballet class, this one adds, as the name implies, cardio. So you’re doing everything very fast to spiked-up pop music. In addition to burning off calories by working up a good sweat, the instructors teach you how to extend your lines and stretch and strengthen so that you’re toning your muscles as well as elongating them. So you build long, lean muscles – like a ballerina – instead of just bulk. I love it.

When I first moved to California I gained a lot of weight – about forty pounds! Basically all the sitting in cars and eating Mexican food. I was used to walking all around New York, and NY did not have very good Mexican food. I credit Cardio Barre with losing all of it. I’m serious. I dieted a little bit but I still ate what I wanted. It was the workout that made the difference. Plus, it just makes you feel pretty while you’re doing it – like a ballet dancer 🙂

Today, I had a teacher who had actually competed on the very first season of So You Think You Can Dance. She was really encouraging everyone, and handing out these words of wisdom about moving better and improving your body, and just about life in general. It reminded me of the yoga teacher in Maria Murnane’s delightful novel, Katwalk, about a young woman gaining courage to make big changes in her life – my favorite type of story. Part of her acquiring that courage came from a yoga teacher’s simple little words of advice before and during class. Like the classic hairdresser / therapist but teacher / therapist instead!

I’m also a big fan of LaBlast. This was founded by Louis van Amstel of Dancing with the Stars and is a Latin-dance-based workout. I love it for obvious reasons 🙂 It’s kind of like Zumba but more Latin than Hip Hop. Not that I don’t find Hip Hop fun; it just doesn’t look as good on my body, or I just seem rhythmically challenged or something. I just like Latin better. So LaBlast is a lot of the Latin ballroom-based steps but with more cardio, kind of bouncier and done in sneakers rather than heels.

 

Third is hot yoga. I don’t know if yoga is officially dance-based but it always feels balletic to me with the stretching and strengthening, and even acrobatic in the more crazy poses. It’s just classic. Yoga always relaxes me – especially in a nice, darkly-lit studio, like the one I go to (Aura Yoga). I can really clear my mind when I’m cocooned in that little room, in those deep stretches. And the poses build a lot of core strength, which is so important to prevent injury when you dance or do other kinds of workouts, or just in everyday life, lifting things and whatnot. The more strength you have in your center – your abdominal muscles – the less stress you put on your back or hips. I always love stretching and the feeling of lengthening my muscles. And if the room is heated to 85 degrees or above, you can go really deep in to those stretches. Plus, being from AZ, I love heat 🙂

Did I miss anything? Do you have any favorite workout?

Former NYCB Dancer Sophie Flack Signs Her Debut Novel, BUNHEADS, at BEA

My apologies for my lack of blog posts this week. I spent Monday through Thursday at Book Expo America, the largest book industry trade fair in North America, held every year in NY at the Javits Center. (Nevertheless, I did manage to go to ABT’s night of premieres on Tuesday, which I’ll blog about soon.)

Anyway, I was so excited to see in the BEA program that former New York City Ballet dancer (and Winger contributor), Sophie Flack, was to sign from her debut young adult novel, Bunheads, about a teenage dancer  who’s in the corps de ballet of the “Manhattan Ballet,” and who, after meeting a handsome musician named Jacob, must decide whether she wants to continue in the competitive world of ballet or strike out on her own in “the real world.” The novel will be available in October, but I picked up an advance review copy and so am reading it now. It goes without saying that NYCB fans are going to LOVE it! But I think it has a far larger audience as well.

The Bunheads signing line was rather long, and I think Michael and I were the only ones who really knew anything about the author. I heard some young women behind me say they liked ballet and really wanted to read more about it. I heard someone else in line say they loved the cover; it reminded them of Black Swan (that’s the cover on the poster in the above photo). Some were saying they took ballet as a child and were still enamored of it and were really excited to see a book out about it. Basically, for all the pessimists out there, ballet most definitely is not dead.

It was so cool finally meeting Sophie! I felt so sweaty and gross walking all over the Javits Center for hours on end, so was hesitant to have my picture taken with her. That’s why I’m kind of hiding behind her!

Also, for my ballroom readers, I noticed this book:

It’s a memoir written by an amateur competitive ballroom dancer named Patrice Tanaka (who, from the photos inside the book, looks very familiar to me and who’s danced with my former teacher, Emmanuel Pierre-Antoine, whom I’ve blogged a bit about). According to the book cover, Becoming Ginger Rogers is about how ballroom helped Tanaka to become a better partner and business person (she runs an award-winning PR agency). I picked up an advance review copy of that as well, and will write about both books soon. Click on the book cover image above to find out more about the book and Tanaka.

Finally, just because I know some balletomanes who like him 😀 , here are a couple of photos of Colson Whitehead, who has a novel involving zombies (but it’s not a “zombie book,” he’s said on Twitter) out later this year. He didn’t read from that at BEA but from a humorous essay about the constantly changing “in” genres in publishing and what an author can (not really) do about it.

LEAP by Jodi Lundgren

I recently finished this sweet, very honestly written young adult novel by Canadian author Jodi Lundgren.

Leap is a coming of age story about a teenage girl, Natalie, living in British Columbia with her mother and younger sister. Natalie deals with many of the problems teenagers do – a boyfriend who pressures her into sex, a difficult friendship with a destructive classmate, and just fitting in and figuring out who she is. In addition, her father has recently divorced her mother and moved across the country to Toronto. She hardly ever sees him and feels abandoned by him. Her mother, who often seems more interested in books than her daughters, has begun a romantic relationship with another woman. Natalie takes after school dance classes with her friends and her teacher, Ms. Kelly, doesn’t much like her and seems to enjoy really picking on her. The classes consist of several types of dance, including ballet, but the group is working mainly on a jazz routine for an end of the year performance. Natalie feels uncomfortable with the choreography, which the way it’s described, sounds very Fosse-esque, very sexed-up.

Along comes a young co-teacher, Petra Moss, whom Ms. Kelly has hired to choreograph a ballet for the final show. Love the name! Kept picturing Petra Murgatroyd from Burn the Floor. Much to Natalie’s surprise (and Ms. Kelly’s) Petra immediately takes a liking to Natalie. Petra’s choreography is actually more modern than ballet and there’s a humorous little tiff between Ms. Kelly and Petra about whether toe shoes will be used, but suffice it to say, modern feels much more comfortable to Natalie’s body. Petra encourages Natalie to feel the movement, to make it organic and natural, so as to really express herself through it. She invites her to improvise. From Ms. Lundgren’s descriptions of Petra’s classes, they even sound a bit Gaga-esque.

Basically, through dance Natalie learns to deal with all of the confusing things happening in her life. One of my favorite parts of the novel is when Natalie’s parents attempt to support her by attending her first professional performance. She’s thrilled. But then it becomes clear that they don’t really understand her commitment, or her art. An older gay male dancer who befriends her tells her it’s okay; family and friends won’t always understand you. So, you can create a new family of those who do.

It’s a sweet story that teenage girls in general, and anyone who’s ever danced, will appreciate.

Misty Copeland on Tavis Smiley

 

Apropos of our recent discussion on race and ballet, ABT’s Misty Copeland was recently on the Tavis Smiley show. She talks about race, ballet, elitism, her training, her recent appearance onstage with Prince, the immense difficulty of ballet, and of course, Black Swan. She’s very well spoken. Go Misty!

Also, speaking of Black Swan, here’s an essay by former NYCB dancer Toni Bentley in the Daily Beast. Bentley has more guts than anyone else in the industry, that’s for damn sure. Go Toni!

Above photo of Copeland taken from Martini Pink.

Ballroom Kids Win “Live to Dance”

 

Apparently the young ballroom dance duo, D’Angelo and Amanda, won the first Live to Dance championship last night. Coming in second place was the 11-year-old contemporary / jazz dancer, Kendall Glover, and placing third were the ballet pair, White Tree Fine Art.

Thank you to reader Irina for emailing me about the show’s results! You guys, I am so sorry but I’ve been so crazy busy trying to finish my second novel, get it out, and get the third going. I know I haven’t blogged much about ballroom lately – and I’m sorry – it’s my passion, it really is! My third novel, by the way, is going to have a good deal of ballroom in it, so I think that’s what’s been going on with me – all my attentions have been taken with the novels…

Anyway, because of the books and the ballet, I’ve missed the last three weeks of Live to Dance and am going to have to watch YouTube videos to catch up. I remember not liking the ballroom pair a whole lot, nor Kendall, but loving that break dancer. Too bad he didn’t place. I am glad ballet had a showing in the finals though.

I’m off to a reading (Benjamin Hale – can’t wait to read The Evolution of Bruno Littlemore!) but hope this weekend to look up some of those YouTube clips so I can see if D’Angelo and Amanda got any better from the last time I saw them.

Thank you to Irina for making me aware of the final results! I promise to get back into the ballroom swing of things soon!

Sample Sunday: Wedding Belle

For this week’s #SampleSunday, here’s an excerpt from Swallow‘s chapter eight, titled “Father Christian.” For a synopsis of the whole book, go here.

I made it to the boutique only ten minutes late. Speed walking toward the glass-doored entrance, I saw Francie inside looking out, peering up and down the street, pacing back and forth, perfectly steady on her six-inch, stiletto-heeled, candy red pumps, her flawlessly coiffed strawberry mane bouncing girlishly with each pirouette. Oh, I pray I’m Francie at fifty, I thought.  New York women never get old, I swear. When our eyes met, she tapped her French-manicured fingernail on the face of her watch, then shook her finger at me in mock reprobation.

“Sorry sorry,” I mouthed, pushing open the door.

“It’s all right, it’s not like there’s anyone else here.” She stood in fifth ballet position and extended her left arm gracefully toward the middle of the store, her frown at odds with her delicate pose. “What is it about getting married here? No one in this city seems to do it.”

“That’s because New York women are all so independent and sophisticated, like a certain fashion maven I know,” I gushed.

“Yeah yeah yeah. Perpetual singlehood has been a real friggin’ joy.” She fluttered her hand about dismissively. “Come on, let’s find you the Audrey dress of your dreams, skinny girl,” she said, pinching my arm. “Geez Soph, you really are losing weight. Look at these little twigs.”

“I’ve lost twenty pounds,” I said. I knew it was getting to be a lot; another ten pounds and I’d weigh 100. But truth be told, I felt like I was really beginning to fit in in New York. It looked rather elegant, if not downright trendy, to be thin here. Still, I knew I couldn’t lose a whole lot more. It had to stop at some point.

“Shit, Soph. What’s your secret? How come you’re keepin’ it from the old lady?”

“Hey, I did tell you; you just weren’t listening.”

“Huh?”

“The throat ball. The ‘ball’ — remember?”

She had the loopiest smile I think I’d ever seen.

“Okay, after we’re done here, we’ll go out to eat,” I said. “Then you just imagine a big ole ball in your throat and you choking to death whenever you try to swallow. Beats the hell out of a diet any day.” I couldn’t believe what I just heard myself say.

“Shit, Soph, you’re starting to sound, you know, a little fucked up,” she said, echoing my thought.

“Hello, ladies.” Marlena, with whom I had my appointment, appeared as if out of thin air.  She was sixtyish, immaculately groomed, with snowy whitish-blonde hair, and a full face of makeup that — unlike on me — made her look polished rather than fake. Already I felt like a street urchin with my shiny nose, flyaway hair, and now oversized, dowdy suit.

“You must be Ms. Hegel,” she smiled, cupping my hand between her palms. I always felt so uneasy in places like Saks and Bergdorf, like it was so obvious to all the salespeople that I didn’t belong anywhere near the place. Funny, I wasn’t feeling that so much with Marlena though.

“Um, yes.” I tried to return her smile, not anywhere near as elegantly.

“And you’ve brought your big sister with you. Excellent idea,” she said, extending a hand and smile to Francie.

“Basically,” Francie said, giving her a cursory New York handshake.

“Now you tell me what kind of dress it is you’re looking for, dear,” Marlena began, eyes now focused solidly on me. “Would you like to look at the catalog, or do you have something in mind?” Something about her was so familiar, like she was an old dear nanny or governess or something. Except of course I never had such a person in my life.

“Mmm…” I looked at the four huge tomes on the counter. They looked far too intimidating; we’d have been there all day if I started with them. “I think I’ll start with the actual gowns.”

“That’s perfectly fine,” she sang, with the sweetest of smiles. “Let me just tell you a little about my job here at Bettina’s Bridal. I’m not here to dictate what you should wear. You brides today are more sophisticated, more mature, far more educated than you were in my day,” she chimed in a fantastical voice that sounded like she’d been around for centuries. “You have your careers, you know who you are and what you want out of life, not to mention out of a dress,” she laughed. “You’re not to be bossed around by your mothers, your sisters…” she gave a nod and wink to Francie at this, “certainly not your future husband. This is obviously your most important day. This is the statement that you’re making to all your friends and family, to the world, of who you are.” She positively glowed.

Francie rolled her eyes. Argh, can you say, ‘jaded New Yorker,’ I thought.

When I looked back at Marlena she radiated a fairy godmother smile, and I felt a tear starting down my face. I was so embarrassed I could’ve just fallen to the floor and rolled myself up into a little fetal ball. What was with my total lack of control over my tear glands?

“Oh dear. Would you like a glass of water?” she asked, grabbing a tissue.

“No, no.” I felt like the consummate ass.

“It’s normal, you know, this is quite an emotional time.” She stood smiling down at me, her hands folded in front of her, her long eyelashes glistening, her cheeks glowing.

“Okay.” I took a deep breath, pulling it together. “I have an idea of what I want. Something basic, not really frilly, just simple, but you know, a fabric with a nice sheen.” I had no idea what the hell I was saying. ‘Nice sheen’ – what was that? Such the couture dyslexic was I.

“Sophisticated, elegant, you know, Grace Kelly, Audrey Hepburn. Maybe matte satin or Duchess silk, possibly organza. I think she wants to go with a simple A-line silhouette, natural or dropped waist bodice, attached chapel train, very little if any embellishments.” Thank you, Francie, I thought. Whatever you just said.

“Let’s start here.” Marlena showed me a simple satin dress with beautiful beaded buttons trailing down the back. Only problem with that one was a monster bow right on the butt — made it look like her bottom was a big present to the groom.

“Kind of makes her look like a present,” I said to Francie.

“Well, you are a present, my darling,” she said.

“No, like an object, I mean. Like she has no personhood.”

“Ugh.” Francie rolled her eyes again. Francie didn’t have the most developed feminist consciousness, I kept forgetting. I mean she did, but she just wasn’t schooled in feminist theory, didn’t have the jargon down. Not that I wanted her to though; she was far, far more interesting the way she was!

“Then there’s this nice simple organza ball gown.” Marlena next showed me one with a lacy bodice, cinched at the waist by another bow that led to a poofy floor-length skirt. This one reminded me of the ballet dress I wore for a recital at Phoenix Symphony Hall right before Daddy left. And the cinching bow recalled a bit of the Barium Swallow ordeal. Uh-uh, I shook my head. Far too much baggage contained in one dress.

Then she led me to a plain, but soft and silky, form-fitting gown. But this one had underwire cups stitched on the outside of the fabric.

“Ooh la la, sexy,” Francie said.

“Yeah, for the slut bride,” I whispered to her.

Francie rolled her eyes again. “You have body issues,” she said to me under her breath, her voice trailing off at the end, indicating this was a continuing issue that she intended eventually to cure.

“I don’t have body issues, and I am not wearing a bra on the outside of my dress to my wedding,” I whispered back, smiling over at Marlena, who was looking a bit weary. I was being too picky. I decided I’d try on the next one — which happened to be very pretty, with pearl buttons tip-toeing down the back. It’s just that the buttons didn’t start practically till the waist-line; I had no idea how the thing stayed up and I knew I’d be worrying about it nonstop.

Before I knew it, we’d spent an hour and a half and I hadn’t tried on a single thing.

“Are you sure you don’t want to take a little peek at the catalog?” Marlena asked with a hint of hopelessness. Francie, ever the New Yorker, didn’t bother trying to hide her annoyance.

“Come on, come on, come on, Soph. We don’t have all day. Nothing is going to look right on the hanger. You gotta see it on to see how it hangs on your body.”

Okay, okay. I told Marlena I’d try the first two — the butt-present and the issue-laden ones. She looked ecstatic.

The dresses on display were all in size 10, so Marlena called her assistant, Ruiza, to accompany me into the dressing room. I felt weird undressing in front of her — especially when she motioned for me to remove my bra. She helped me into the butt one, then taped, tucked, tied, zipped and pinned me up. About twenty minutes later, I emerged.

“Wow, very very nice,” Marlena said, walking me toward the three-way mirror.

“Oooh, look at those gorgeous tiny arms,” Francie squealed, squeezing my shoulder.  “Hon, really, another ten or fifteen pounds and you could be a petite model.”

Oh geez. I laughed.  As I stood in front of the mirror, Francie walked around me gazing at the dress. Marlena patted at the skirt. It actually looked quite lovely. I was transformed. Imagine that, mousy me.

“You really do look beautiful, hon,” Francie said from behind, to my reflection in the mirror. Then Marlena turned me to my side, and I saw the blasted bow. It was pinker than it initially appeared, and strikingly different than the rest of the dress. I looked like a baboon in heat.

“I don’t know. I really don’t like the bow.”

“It can be altered,” Marlena and Francie said simultaneously. Yeah, but that would totally increase the price, I thought. But I didn’t dare say it, of course.

“I’ll try the other one.” I went back into the fitting room with Ruiza, underwent the process again with the cinch-waisted Giselle gown. Hmmm, could get used to someone dressing and primping me, I thought. Like Scarlet O’Hara. It was kind of nice, even if initially embarrassing.

After she finished, I headed to the three-way. Ooh, this one looked quite lovely. A little poofy and princessy, but also chic and sophisticated with a more grown-up elegance than had appeared from the hanger. The bow was sweet, much smaller than the other, the same color as the rest of the dress, and was a little off to the side, so not so obnoxious. It was beautiful; I could definitely do with this one. However, one ever so little necessity… had to figure out a way of finding out the price. Of course, there were no tags on anything. I hated it when stores did that.  But I guess I should’ve expected it with a place like this. I hated having to ask.

“That one’s a great deal,” Marlena said right then, as if reading my mind. “Quite a steal at only $5995.”

Yikes. I was hoping to pay a third of that, at most.

“That’s great,” Francie said, nodding at me. I thought I detected a wink as well. “Okay, Soph, off to a good start. We got one possibility. But before you get hooked, hon, let’s look at a couple more.” She turned back to Marlena. “The organza and lace might make it just a bit too frilly. What about something with a little less embellishment.”

“Sure,” Marlena smiled, a bit pityingly, I thought, as if she knew exactly what Francie was hinting at. She led us over to one of the first racks in the store — exactly where all of the silly, frilly, i.e., cheap, stuff was located.

I tried and tried. But nothing looked as good as the $5995. Just as I was about to leave to think over my too-expensive Giselle-before-Daddy-left dress, I remembered the catalog and, ever so stupidly, decided to take a peek.

And of course therein I saw it: the gown that simply stood so far above the rest it was pitiful. The satin-y fabric wrapped around the wearer’s body regally, like a protective sheath. And it had this really extraordinary lace framing device. There were two wide strands of intricately-patterned lace extending the length of the bodice. They originated at the waist, then rose up and above the top of the dress where they fanned out into two pleats flowering just over the top, highlighting the wearer’s chest, and framing her torso. At the waist, they met with several more lace lines that wound around from the back, and at the hip, all lace strands bunched up and overflowed into more pleats that formed sequins, which cascaded all the way down to the ballgown’s train.

The wearer of the gown was a true queen. And, bizarrely, here that wearer was the supermodel from the Vogue ad in the museum exhibit; the one Stephen had said looked like a “Holocaust victim.”

Only odd thing was the gown was rose-colored. I’d never thought of a wedding gown in any color other than white.

“Beautiful, isn’t it? That’s one of our Lacroixs,” Marlena said, over my shoulder.

“It’s gorgeous. But it’s red. It is a wedding dress, right?”

“Oh yes. The most popular color right now in Europe is red. Brides here are a little more conservative. But if you want to make a statement…”

“Do you have it?” I asked. I knew it was probably way too expensive but I really wanted to try it just for kicks.

“Yes…,” she said, her voice inflecting at the end. She looked hesitant.

“Can I try it?”

Marlena smiled weakly. “Sure. It’s just that, well, this one has a great deal more embellishments than… Of course you can, of course, dear.” She started to walk away; I followed.  “It’s in the back. It’ll take some time to get,” she called over her shoulder.

“Hey ready yet, Soph? I’m getting hungry,” Francie called out, posing in front of a mirror with a pearl-white veil draped over her face.

“I’m just going to try one more.”

“One more! I’m really really getting hungry here, Soph.” I hated it when Francie got pissy.

“It’ll just be a sec. Please?” I whined like the child Marlena’d just spent all afternoon trying to make me feel I wasn’t. Francie scowled at me, returning the veil to its mannequin. Just then Marlena returned with Ruiza, the two of them together carrying a veritable body bag.

“What’s in there?” Francie asked, annoyance metamorphosing into intrigue.

“Here it is,” Marlena chirped, as she, Ruiza, and yet another assistant all maneuvered it out of the bag. Once I saw it, I understood why this required a group effort. It was simply huge.  This time it took a full forty minutes to get into it, but not because there was a lot of taping and pinning on Ruiza’s part: believe it or not, unlike all the other floor models, this one was a size four. It took so long because there were so many pleats, sequins, ties, clasps, and buttons for poor Ruiza to figure out.

“Oh my god,” Francie shrieked when I walked out, “You look …”

“Yes, you do,” Marlena echoed, even though Francie hadn’t actually come up with an adjective. “It’s tight, but, wow, not all that much.”

“The color is gorgeous, Soph,” Francie said, brushing the train.

“You think it’s okay that it’s not white and all?” I asked.

“Shut up and look at yourself!” Francie whiplashed me toward the three-way.

When I looked in the mirror, I saw someone else. I was like royalty, someone very special, even beautiful. There’s no such thing as natural beauty, I thought. Designers are the makers of reality, and you just have to be skinny enough to squeeze into the alternate universe they’ve created for you. I had no idea what Christian Lacroix looked like, but I imagined him as this posh but avuncular man plucking at the lace, smoothing out the sides, telling me what a perfect fit it was, how beautiful and smart and charming I was; how I was the perfect wearer.

Suddenly I began hearing my mother’s voice. “Who do you think you are? Some movie star, some Arabian princess?” The same words she used when I’d received my letter from Yale and told her the cost of tuition, and my father went ballistic. A place for high-class people, deserving people, not me.

“Oh Sophier, you’re absolutely mesmerizing.” Thank goodness for Francie’s New York voice trumpeting over Mom’s. I was getting married now. I was a law school graduate. I was an adult. What was wrong with me? “So teeny tiny. Oh you’re so beautiful, darling. You look just like the model. It’s so so SO you!”

“Stephen says that model is a glorified Holocaust victim,” I couldn’t help but blurt out.

“UGH.” Francie screamed, throwing up her hands. “Fff…” she began, then saw my discomfort at her ‘free form expressions’ in Marlena’s presence and altered her tone, somewhat. “Then, my dear, you are a beautiful fucking glorified Holocaust victim,” Francie whispered to me, lips pursed tightly over teeth.

“I need to know the price of this one,” I found myself again blurting out, too needy now to care how poor I appeared. Marlena smiled, pityingly again. She had an answer that I really didn’t need to know.

Photo above of Christian Lacroix and model from Independent UK.

Roberto Bolle on the Intersection of Fashion and Ballet

Here’s an interview with Roberto Bolle backstage at Dolce & Gabbana’s 20th anniversary show in June. He talks about ballet and fashion, saying both have to do with the aesthetics of the body and movement, and that fashion is very important to Italy. I’ve never heard his voice before so this is fun! He struggles a bit with English and has more of an Italian accent than I expected. He seems really sweet.

Video via Global Internet Age.

THE INFLUENCE OF SO YOU THINK YOU CAN DANCE ON DANCE STUDIOS

 

Interesting article by Claudia La Rocco in the NY Times about the influence of SYTYCD on studios. (I missed SYTYCD this week; had really wanted to watch Thursday night but was at New York City Ballet all settled in my seat excitedly waiting for the premiere of Mauro Bigonzetti’s Luce Nascosta when I realized I’d forgotten to tape it).

Anyway, regarding this article: I have noticed in the last few Dance Times Square performance showcases that there have been several student / pro hip hop and lyrical routines (lyrical there meaning balletic modern, without shoes, like a contemporary routine on SYTYCD), which is odd given that it’s a ballroom / Latin studio. And the students are dancing with their same teachers, which means that ballroom / Latin specialists are teaching performance-level hip hop and modern dance. Perhaps in the future ballroom instructors will have to show fluency in more styles to get their jobs.

Broadway Dance Center (mentioned in the article), where I’ve taken ballet and jazz is an excellent studio by the way, if you’re in NY. So is Alvin Ailey extension, where I’ve taken Samba (Brazilian social / Carnival, not ballroom samba). They have everything at AA now, including Salsa and other ballroom dances, though I think they’re more geared toward social than competitive. But I think the attraction to Dance Times Square (aside from the fact the studio owners are now celebrities thanks to SYTYCD) is that they put on performances in real NY theaters, which gives students the chance to dance on a real stage. Alvin Ailey extension does too now; the students are performing in the theater inside AA studios, and Broadway Dance Center has its student showcases in the Martin Luther King Jr. High School auditorium, but it just feels different when it’s on a Broadway stage.

Anyway, I’m getting off track. But I do think dance styles are merging. You see more ballroom routines both in studios’ student showcases and on Dancing with the Stars that are looking lyrical these days, and more Latin routines that are looking very hip hop. And, as is mentioned in the article, some dance styles – like tap – are not visible on SYTYCD at all and are losing popularity in studios as well. I guess no one wants to bother learning an “unpopular” dance style… Nigel Lythgoe told La Rocco he didn’t think tap worked for the show because it’s so specific – it’s too hard to train general dancers in tap at such a level as to get performance-quality work out of them. Obviously it’s the same with ballet. It takes years, decades, to learn proper ballet technique, to even try going on pointe.

I really hope though that Lythgoe will continue trying to introduce general audiences to those styles not in competition on the show. Savion Glover and Jason Samuels Smith will sufficiently wow audiences (one of them has been on before, can’t remember which one), and all he has to do to make the masses swoon over ballet is to have Natalia Osipova on the show. I think the fun of ballroom and hip hop is in large part to learn them yourself, but the excitement of ballet is just watching.

Photo above of Mandy Moore and students by Stanley Kranitz, taken from the Times.

THE WILIS ARE REAL: THE DANCING PLAGUE OF 1518

I was browsing around in the bookstore yesterday and spotted this. Apparently in the summer of 1518, in Strasbourg, one woman began dancing and couldn’t stop. This “hysteria” spread until a great number of people had literally danced themselves to death. It’s referred to as the dancing plague, which I’d never heard of before. The book is written by medical historian John Waller, and has received pretty good reviews. I’m definitely going to read it.

Of course it reminded me of the wilis of Giselle and made me think, though we moderns love to roll our eyes at some of these “silly” ballet characters — girls being turned into swans, maiden ghosts forcing the men who snubbed them in life to dance to their deaths — it’s interesting to explore their bases in history, myth and literature. The ideas usually came from somewhere.

TO APPLAUD OR NOT TO APPLAUD

 

Here’s an interesting article on the BBC’s website about audience applause during classical music performances that I found to be at least somewhat apropos of our earlier discussion about applause during ballet. They’re a bit different since applause at the wrong time interferes more directly with music than with dance-watching, but, still, many of the same issues came up. Apparently, the BBC Proms festival of classical music is currently underway, which draws many newcomers.

I have to say, I greatly appreciate the word “numpties” used by one commenter 🙂

DANCE YOUR ASS OFF SERIES PREMIERE

 

Thanks to a comment from the executive producer on my prior post, I remembered to watch the series premiere last night of the newest TV dance show (Oxygen network).

It was sweet. All of the contestants are “real people,” some with dance background, most with none, and all of whom are overweight, some severely and life-threateningly so. They each work with a professional dance partner, a nutritionist, a doctor, and a fitness coach to learn to eat right, maintain physical fitness, and of course dance. For many of these contestants, success on the show is a matter of life and death — no exaggeration. That’s what morbidly obese means — it’s not just a loose term that means “gross” or something; it means the obesity could have morbid results. The doctor was very interesting. He talked about how for many of the contestants, fat had leaked into their liver, their pancreas, and their diaphragm, making it harder for those organs to function, harder for the contestants to breathe. I knew it could cause diabetes but I didn’t know fat could do that – could spread to other organs, like cancer, and overtake them.

Anyway, it’s a competition of course, like almost all reality TV these days, so a person is eliminated each week. The dancing is all fast-paced and aerobic, which makes sense. The dances last night were chosen by the contestant — hip hop, disco, swing or jive. Next week everyone is supposed to compete in disco.

There are three judges and each contestant receives a score, based on the quality of their dancing. They then weigh themselves, and the percentage of their total body weight that they lost that week is added onto their dance score for a total score. The person with the lowest score leaves. There seems to be no audience vote.

Which is fine, because it’s completely impossible to root for one person at the expense of the rest. Of course you want them all to do well. And it’s kind of sad that it has to be a competition anyway, given the goal of the show (which is of course to lose weight but there’s also an incentive in the form of a $100,000 prize). But competitions are what audiences seem to want these days. As it was, the first person to leave last night was the person who probably had the least to lose: she’s an attractive young woman, a former model, and had only recently begun to put on the pounds. But she wasn’t anywhere near as heavy as the rest. Hopefully, she had enough time on the show (meaning, the weeks — I assume it was weeks — spent preparing), to change her lifestyle.

I think the show is a very good idea, but I do hope its important message is able to rub off on the general public and it doesn’t just become a spectacle like so much reality TV. The reason many thin people are thin is that they have happy, fulfilling, active lifestyles. They appreciate the taste of food and so seek well-made, quality food (ie: eat canned asparagus with dinner and you’re probably going to have to get rid of the horrendous aftertaste with a monster bag of Oreos or whatnot; eat asparagus vinegarette with a nice glass of wine and no need for dessert), in moderation and without gorging (you can’t appreciate the taste if you’re only going to gobble it right down) and without ever depriving themselves of their favorites. (ie: eat chocolate and be happy, but buy a quality bar and you’ll be much more fulfilled than if you eat crap from a vending machine, in which case you’re probably going to have to eat a few bars to be likewise sated).

I know it sounds funny for a blogger with the words “skinny white girl” in her tag line to be lecturing on weight loss, but honestly my mother is the same size as many of the contestants on the show — actually bigger; she’s really too big to dance — and she has a whole host of health problems and I worry about her daily. The only difference between us is lifestyle (city versus small town) and our approach to food.

Of course another reason thin people are thin is that they don’t have time to eat so much because they’re out being active, and being active is fun, not a chore. You don’t have to go to the gym, you don’t have to run laps. You can lose weight and become fit by learning to dance, so long as you’re learning proper technique and learning to use proper muscle groups. And then you’re not just losing weight but getting sculpted as well 🙂

I think this show is a great idea. It’s on every Monday night from 10-11:30 EST, 9 pm Central. Visit their website to learn some of the dance moves on the show, watch episodes, and submit your own videos. You can also join their Facebook page to discuss. For weight loss, I recommend your local dance studio — preferably ballet (I’m not kidding; just because barre work is slow doesn’t mean you’re not getting an intense workout, avec the body sculpting I was talking about!) If you’re in NY, the Harkness Center at the 92 Street Y is a very good dance studio with a very non-intimidating atmosphere. If you’re braver, try Steps on the west side (be warned, famous dancers take class there). If you want to work at home, I highly highly HIGHLY recommend this.