I was just at a keynote address at the big Venture Capital Conference in town this week. The speaker claims the "3 P's" are the
keys for success in any field. Author and philanthropist Mark Thompson was talking about business, but "Passion, Preparation and
Purpose" are givens as well for success in the pursuit of parts in the arts. Are you passionate about your
dancing? Are you Preparing for success? Thompson suggests redefining success in terms of your Purpose. Rethink your involvement and dedication to dance. You need to renew your commitment every day, every class, every exercise.
10.15.2008: Ounce of Prevention
Capital City Dance Center is highly recommending all students get their flu shots
soon. With so many kids in so many classes here at CCDC, any bugs will get passed
along quickly. Here's some information from the national
Centers for Disease Control on influenza immunizations.
And, here's a PDF on immunization clinics in the Capital City Area. And, all the CCDC restrooms are kept well-stocked with soap and
hand sanitizer is available in all studios, lobby and restrooms. Washing your hands and
using hand sanitizer often and getting your kids to do the same will help cut down on
"down-time" here at CCDC. And, today, is Global Hand Washing Day! Sleep, rest and good nutrition also highly recommended. Do
some research
if you're hesitant about vaccinations. Don't listen to old wives telling tall tales!
And, don't rely on everyone else getting immunized! I've got my flu shot! Got yours?
And, I feel....erck...gasp...cIdlsp///l 911...9...1...1.. 9!!...0:o(
10.14.2008: Capital City Arts Action
Auditions for The Best Christmas Pageant Ever will be held at The Playhouse at 6:00 PM, Sunday, Nov. 2. All auditions are open to the public.
The Best Christmas Pageant Ever contains feature roles for 2 men and 2 women, ages 16 and up; 5 boys, ages 8-16; and 5 girls, ages 8-16. There are also roles for a large ensemble of men, women, boys and girls.
The Best Christmas Pageant Ever performances are Dec. 12-21. School matinees are Dec. 10-11. The show is directed by Rusk Dorsett and Brandon Lee, with music direction by Robin Spahr.
The Herdmans are the worst kids in the history of the world. They lie, steal and smoke cigars (even the girls). When they take over the church play, everyone wonders if this will the be the best Christmas pageant ever, or just the most memorable.
Tall tales and laughter await audiences at The Playhouse! Escanaba in Da Moonlight a new comedy by Jeff Daniels of Dumb and Dumber, will be presented in the Mainstage theatre, Nov. 7-23. Tickets are now on sale at The Playhouse ticket office.
Escanaba in Da Moonlight a hilarious new comedy, will have audiences holding their sides with laughter! When the Soady clan reunites for the opening day of deer season at their Upper Peninsula, Michigan, camp, 35-year-old Reuben Soady carries the infamous reputation of being the oldest Soady in history never to bag a buck. In a hunting story to beat all hunting stories, Escanaba is an uproarious comedy where the quest to hunt, drink a few beers, and tell each other stories is interrupted by an uproarious tall tale.
The Escanaba in Da Moonlight cast, under the direction of Ron Ziegler
(Grease) features Micheal Davenport (Enchanted April) as Reuben Soady. Other cast members include Eric Bench, Cody Schug, John Cisar, Jason Thomas Rainwater and Megan Walz.
For more information on The Playhouse and Escanaba in Da Moonlight surf to their website.
10.13.2008: Overheard in Nutty Rehearsal at CCDC!
"Oooh, ladies! We really need to work on those fouette' turns,
don't we? Between now and performance, every class, do those 32 fouette' turns! Both sides! Then,
two or three or four on your strong side won't bother you at all."
"Are the tutu blocking the correct angles?"
"I want the bourre's en pointe the ones where your knees 'flutter like butterflies fluttering
by'!"
"I want these particular echappe's to travel like sissone on to pointe! But, softly! Never bang down
en pointe."
"Don't let your pelvis pitch back! Neutral pelvis will allow greatest turn-out! For most of you
that'll feel 'tucked under' because you normally stand 'untucked'! Close that barn door
before your technique escapes! NOT after!"
"Clean and classical! I think we really have an opportunity here to showcase your charisma
and your classical technique! So, much more clean! Much more classical!"
"Hold that flute like a flute! Flutter those fingers! It's not a lead pipe! You're not playing the
Sharks and Jets heading to a rumble!"
"Don't 'take' from the audience! Give instead! Don't demand adulation, applause or
admiration! Share your love of dancing. Don't be a selfish dancer! Your motivation must be
pure! The more you demand, the less the audience will give. The more you share on stage,
the more they will give to you. Check your ego at the stage-door! It'll still be there when you
leave!"
10.13.2008: Between A Rocco And a Hard Place!
Well, the charming celebrity chef is on the hot plate and the "red light" special may be the his
"head on a platter" this next week! Rocco is a gracious and giving guy. I watched
his reality special premiere courtesy of iTunes the other week. And he really seems
to be someone you'd like to sit down and have him cook you dinner sometime. But, I think
all his talent may have gone in that one direction. As talented as he may be at
the game of cooking game, he
has "very little game" on the dance floor. Unless that changes and quickly, his
"goose may
be cooked" by this time next week. Now, I like Cloris and her efforts on
the dance floor despite her age are a tribute to her and
her professional partner. But, she has even "less game" on the dance floor than
Rocco. I'd rather she go
than Rocco. On the other hand, Brooke was awesome this last week! What
line and musicality! She gets better every week and her "ten" at the hands of
head judge Len
was well-deserved. If that effort was later in the season, it may have well been the first "30" of the
year. Burke's been strong every week so far, but, she really elevated her game with
this last effort. She served notice last week that she's this year's Kristi Yamaguchi
and well may lead wire-to-wire as the Ice Queen almost did last season! And, why not a "tournament of champions"? Have
the winners of the last several seasons return for a series of head-to-head competitions?
Also, I'd like to see a rematch between Emmit and Mario like that Season
One-And-A-Half rematch between Monaco and the J Peterman dude. Or,
Stacy, Jerry and Drew! Or, how about between Helio and
Apolo? How 'bout it? A knock-down, drag out, "Tournament of Champions" and
fan-favorites! I'll pick the fan favorites!
10.10.2008: Overheard in CCDC Ballet Class
"When the foot is in front, bring the knee and toes back to work turn-out. If you bring the knee back, your foot will follow. But, if you bring the foot back...most likely your knee will stay out there and turn you in."
"Bring the seat under and replace your placement, to bring the foot in from the back. Try to make the heel beat the knee back in. That'll stretch and strengthen your turn-out."
"Whenever you bring your foot/pelvic placement in from the back, make sure you turn out your standing leg a little bit more."
"Don't just go through the motions during a forced-arch exercise. Imagine there's a stick between your heels allowing the forced-arch to force a better arch when straightening the knees."
"Show that forced-arched foot at the end of your tendu, degage', pas de cheval, developpe', etcetera."
"Listen to the music. Let your arms breathe with the movements of the rest of the body. Let the neck lengthen!"
"Arms like wings! Neck like a swan! Legs like...uh...long legs!"
"If you don't use your head and neck and focus while you're dancing, you're short-changing the audience! Use your entire body to dance! Without your head, neck and back, it's like going to Cold Stone Creamery and ordering a sundae...but, getting no cherry! It's like going to Panera and ordering a sandwich...but, getting no pickle! It's like going to Pancheros, ordering a burrito...but, getting no salsa, no jalapenos, no pico de gallo! Give me 'all the flava' while you're dancing!"
"Nice to have you back! Are you going to scoop out your middle for me in class?"
"If you wiggle...we will giggle! Before you can move, you have to learn to be still!"
"If you wanna dance like a dancer, you have to stand like a dancer!" Stand like a goober...and you'll dance like peanut butter!"
"When's the last time you opened the refrigerator and you saw some jello doing perfect pirouettes? Never! That's because jello doesn't turn well! So, when you turn, don't let your middle turn to jello, J Lo!"
10.09.2008: What2Ask
The CCDancedoC got this in the emailbag recently:
"...when I visit with the dean of the dance department I was thinking of asking questions along these lines:
How many technique classes are offered/can you take as a freshman?
Are other forms of dance mandatory?
Is pointe class offered?
How flexible are your schedules to compromise with other classes?
Where was the faculty all trained?
Has anyone every joined a company after attending your 4 year program? Where?
...That is all i really have now. If you can think of anything to add or subtract please let me know!"
This is what got sent back:
"How about these?
What is the percentage of your graduates that go on to dance professionally? What’s the breakdown? Ballet, Modern, Contemporary, Broadway, Cruise ships, theme parks, etc.
What percentage of your graduates go on to a dance-related field? Teaching, choreography, stage managing, sound, light design, etc.
Tell me about the variety of performance opportunities for your dance majors over the course of a typical year.
What other dance-related opportunities are available to your dance majors? Stage managing, choreography, sound and light design, etc.
Tell me about the background of your permanent faculty as well as recent guest teachers. Talk about any recent workshops.
How many opportunities are there to watch or participate in professional concert dance performances on-or-near campus over the course of a typical year?
How closely does your faculty work to ensure post-graduation dance-or-dance-related employment for your students?
Tell me about what you consider your most recent success-story from a dance-major graduate from your school.
What would you tell a student who doesn’t appear to have what it takes to succeed as a professional dancer? How often does that happen?
Does your school allow dance majors to supplement their training at off-campus institutions? How often does that happen?
What sort of dance training opportunities do you offer on weekends, during breaks, vacations or between semesters?
...Okay, that’s all I got for now!"
...And, you might ask about how far the dance facilities are from student dorms, how easy it is to get around campus, about special diet plans food service might offer, how many formal and informal performing groups are on campus, how many professional or semi-professional dance companies are based in the area, etc.
10.08.2008: Dreaming With The Starz
Do the dreams you remember always mean something? Or are they just random firing of synapses while the brain rewires itself for a new day? Sigmund Freud writes that dreams are the "royal road to the subconscious". Now, if that's true, what a strange and bizarre place my subconscious must be! Any amateur dream analysts are welcome to make what they want of this: Pro dancer Cheryl Burke of DWTS popped up in a dream of mine last night. She was trying on a pair of glasses and I, apparently, was the sales dude. She fiddled with them for awhile, but, finally decided against it. Despite my best sales pitch, she walked away. When I woke up, I remember thinking, "Now what the heck does that mean?"...Which allows us to segue seamlessly into the show that has apparently set up shop in my subconscious, Dancing With The Stars. Watched the second weak this past weak end. No tears shed while watching Kim"Baby Got Back"Kardashian and her J Lo booty get booted from the series. Kardashian is one of those new phenomenom, 21st Century "celebutantes", famous for only being famous. She's well known for being mildly, reasonably attractive, but, there's no personality, charisma or talent to back up her rep. And, I haven't watched this week's installments, but, (***SPOILER ALERT***ABANDON READING IF YOU WANT TO WATCH THE EPISODES LATER IN BLISSFUL IGNORANCE OF THE BIZARRE AND AWESOME DEVELOPMENTS!!! WHATEVER YOU DO, DON'T EVEN DREAM OF READING FURTHER!!! DON'T DO IT!!!***) couldn't help but hear what happened. How odd that an Olympic athlete suffers an injury and has to withdraw from competiton...while an octogenarian blithely blathers on. Sure! Win two gold medals, but, fall short of the mirror-ball trophy! Misti always looked out of her element, but, you have to give her props for getting so far out of her comfort zone. At least she was already used to performing in front of a lot of people in a revealing outfit! And, I forgot to mention that Toni Braxton is also on my watch list. More power to her and her struggle with her heart condition. I'm on the edge of my seat everytime I watch her struggle to catch her breath. Let's hope there's no repeat of the Marie Osmond swoon from last season...or worse! And, fans of the charismatic chef can apparently catch him on his own reality series. And, you can download Rocco's first free episode this week courtesy of iTunes.
10.08.2008: 2Drink? Or Not 2Drink Juice?
(Courtesy Newswise) — For decades, children of all ages have consumed fruit juice as part of their school meals or in the lunches they have toted from home. 100 percent fruit juice was then, and is still today, a healthful beverage that can serve as a daily fruit serving.
Recently, however, some parents have become confused about 100 percent juice—how much to drink, how much to serve their children—partly because of the natural sweet taste of fruit juice. The majority of research on juice shows that it definitely contributes important nutrients to the diet and is clearly not the reason for childhood obesity.
Researchers write “there is no systematic association between consumption of 100% fruit juice and overweight in children or adolescents.”
Appropriate amounts are 4-6 ounces of 100 percent juice daily for children 1-6 years old, and 8-12 ounces daily for older children from ages 7-18.
The USDA Food Guide Pyramid also includes guidelines for incorporating 100 percent juice as a fruit serving. Fruit juices also provide substantial contributions of several nutrients in higher amounts in the diet than do whole fruits, including vitamin C, folate and potassium. In addition, 100 percent fruit juice contains many naturally occurring phytonutrients that contribute to good health.
10.07.2008: Musical Musings
This was in my e-mail recently:
"...A new study due to be published in the Journal of Sport & Exercise
Psychology shows music can enhance endurance and help exercisers feel more
positive even when they are working out at a very high intensity..."
...this is even more reason to LISTEN to the music during class. You have to practice
LISTENING so you can LISTEN while performing or auditioning. A good dancer learns to
use the music to motivate his or her movement. Musicality can and must be developed.
Dance isn't just aerobics. The music isn't just background. It needs to interweave with the
dancing so the whole becomes greater than the sum of the parts. Learn to listen and use the
music to make you move...and together you will be able to "move the audience". Use this
trick when you start feeling fatigued during a long exercise or variation: keep breathing,
LISTEN to the music and let it take over the movements for you.
10.08.2008: Web Lynx Unleashed
Sequel to Center Stage info:
"...PREMIERE OF OXYGEN ORIGINAL MOVIE "CENTER STAGE: TURN IT
UP" TO AIR SATURDAY, NOVEMBER 1 AT 8PM ET/PT
Sequel to Popular Feature Film Center Stage, Starring Award Winning Actor Peter
Gallagher and Ballet Star Ethan Stiefel..."
Get the scoop from The Futon Critic
Must be nice to be young, talented...and noticed:
"...He has been asked to attend the Bolshoi Ballet Academy in Moscow, a rare
invitation from one of the best dance schools on Earth. According to the Russian American
Foundation, which organizes auditions for the Bolshoi, Matthew Leonardi is the only
American male accepted this year..."
Read the story from the LA Times.
More from Morphoses:
"...performed with an impersonal lambent beauty that made visible the cool, flowing clarity of
the music and the lunar dreamscape of the choreography..."
Check it out from the New York Times.
Les blanc du blanc:
"...Swan Lake showcases the breadth and depth of a company; and on opening
night the Royal came up trumps...."
Here's the rest of the story from the Times of London
Ten curtain calls?!:
"...But at Saturday's matinee, a predominantly French audience at the Theatre du
Chatelet applauded for so long that the company was able to give more than 10 curtain
calls after the third of its four Swan Lake performances before a capacity crowd at
the Right Bank theatre by the Seine...."
"...I've been giving a combination of turns en diaganol across the
floor that I think is deceptively simple this week: soutenou turn, tour de basque,
single chainne' tour in fifth a terre into chasse' tour en l'air, repeat. The
trick is to make sure the back leg crosses to the front in the first two turns. The last two
steps you have to make sure the back leg stays in back during the turn. The steps are very
similar and often confused. A well-trained dancer should be able to consistently display the
differences. The apocraphyl story goes like this: during a master teacher workshop
conducted by Georgi Balanchivadze, he asked one of his dancers to demonstrate
chainne' in first, in front fifth and in back fifth. The dancer he brought in to show steps
wasn't able to do it despite several attempts and much coaching and correction. That's
when one of his NYCB dancers who showed up to take the demonstration class to
stay in shape had enough. She threw down her dance bag, strode to the center of the studio in
front of Mr. B and master teachers from around the country and ripped off a series of
chainne' turns in first, front fifth and back fifth. She stalked over to her bag,
picked it up and as she walked out of the studio, turned and said, "THAT'S how that step is
done!" Which dancer would you have been if you were at that Ford Foundation
workshop?"
10.06.2008: A Bouquet of Bussell...and More!
Some of the latest offerings I found on YouTube.Com recently. You can watch Darcy
Bussell coaching kids in Les Cygnets here. Watch her
demonstrate Odette's solo here . And, you can see her
rehearse Carmenhere. And, for those struggling
with their garaglioles, Russian students demonstrate it as part of their combination
here. A whole lotta reversing
going on in Russia as well! And, still not convinced you should be working on those stretching
and strengthening those extensions? Check out your future competition
here. And, here's a fun
character class.
10.03.2008: Media Musings
Well, not too impressed so far with the latest season of DWTS. (Keep in mind I time
shift the show to the weekend, so, I'm still talking about the first weak impressions.) Just off
the toppa my head, nobody this year jumps off the stage like Stacy, Mario, Kristy, Drew, Helio,
Apolo or even that J. Peterman actor in previous seasons. (And, good4Mario! Way 2 parlay that 2nd place finish to a new
career boost hosting those MTV Krew and Pop Star Competitions! Where's the statuesque Stacey not-so-elfin Kiebler disappeared 2?)
I like Brooke, but, she suffers in
comparison to some of the sheer dance-power from other seasons. As usual there are a
number of obvious charming, charismatic, but, non-dancers at the start of this season who should be put mercifully out of their misery in the first
few weaks. Now, I know this may be heresy to my alleged geographical allegiance, but, even
though Cloris hails from around these parts, I still don't cotton to what passes for her
cotton-pickin' dancin'! (But, I'm also the apostate who still thinks local "golden girl"
Shawn Johnson suffers in comparison to the "nasty one". There goes my chance to coach SJ on her floor routine
all the way to the London Olympics!o) Cloris is filling and expanding on that Jerry Springer role. Charismatic,
lovable, outrageous antics, but, can't dance worth a lick! And, the two gold medalists should
finish out of money. I also still think Boy Disney and the former Boy Bander
will get in synch soon and challenge for the title. And, that Chef could catch fire
eventually and saute' and flambe' to near the top. Also, something appealing about Warren
Sapp as well. Nothing like a big man who's not scared to dance big. I nominate him as
"the dark horse" in this race. Thankfully, tho', no Master-P-Stands-4-Pathetic this year. Even the first guy eliminated, Jeffrey Ross
was hilarious and, I-4-1 was mildly looking forward to his promised "Ross-a-nova"!o)
10.02.3008: Deft Nations
I was deep in a conversation the other day with another Capital City Dance Center teacher when I commented on her "banana-boat feet*" and I even sung out the classic "Day-oh!" from the old Banana Boat Song. (Dates me I know, but, still cracks me up!o) Then, I realized that my comments made no sense at all to most of the young students in the room. That's because there are all kinds of terms used in the ballet world that don't translate very well to the uninitiated and you won't find them in your Gail Grant** (See below). You can probably figure most of these out from context, but, as a public service, I'll define a few here with the caveat that they're not all universal and different studios probably have different colloquial vernacular in different cities, states (and, certainly, different countries!o):
*Banana Boat Feet or Banana Feet
Extraordinarily beautiful and flexible feet with high arches. Very desirable in the ballet world, but, usually lacking in strength. Sometimes known as...
Taffy's Feet
Taffy's was a danceware maker that used to advertise in Dance Mag. It featured hand-drawn dancers with impossibly high-arched feet. Thus, the term.
Bun-Head
Term for someone who is obsessed with ballet. The term comes from girls who always have their hair up in a bun for class, but, it can also be used for a male. Sometimes used derisively by less hard-working students. Also, see...
Trina
As in Trina, the ballerina. Derisive term by jealous others for someone too cute, too pretty, too good a dancer. As in "She's such a Trina!". This is now also the name of a danceware maker.
Diva
This has the same pejorative meaning as in larger society. Probably originated from the world of Opera. Someone who's overly convinced of his or her own artistic importance.
Ballet Mom
This is a specific term for a...
Helicopter Parent
This is a relatively new term for a parent who "hovers" around their child a little too much. Usually a little too convinced of the budding talent of their progeny. Not to be confused with a...
Helicopter or Helicopter Lift
A particular spectacular-looking, usually audience-pleasing lift that involves an assisted throw in a jump in a la seconde with a half-turn en l'air that ends in a fish pose. Because it's easier than it looks, often over-used at inappropriate moments by unimaginative choreographers!o)
**Gail Grant
Author of a widely used ballet dictionary. Usually considered the final word in matters of ballet style and definition.
...But, there are things you can't find in your Gail Grant. Are there other terms you've heard that should be in here? For example, what would it mean to "do a Sally dance?" Or, to "Shine like Shannon"? E-mail me!o)
10.02.2008: Pet The Web Lynx!
SYTYCD kicks off, Canada Style:
"...It has been a long route to the Finals, but these exceptional dancers have made it to the
top and have been chosen from thousands of 'Dance' hopefuls. Canada, it's time to meet
your very first Top 20!..."
"...The world renowned Kirov Ballet returns to Chicago this week to perform its
production of the classic romance Giselle for five performances, October 2 - 5 at the
Auditorium Theater..."
Access webvid interview and in-studio performance from Chicago's ABC
affilliate Hate dancing in TV studios. Usually have to lay marley over concrete. (And,
btw, Makarova is pronounced "muh-KAH'-roh-vuh" NOT "MACK'-uh-ROW-vuh".)
Once again, couldn't have said it better myself:
"...There's no such thing as a really great city without having great arts..."
Check it out from Fox 12 News. I
was wondering if that's where CCDC Summer Guest Instructor Jason Hartley is now. But, their new improved Ballet Idaho website provides no company roster.
10.01.2008: Tutu Go!
So, both Princess SarAurorah II and the dread Sorceress Rothbarta traveled to the City-of-Much-Wind-and-Shoulders-Broad to watch the ballet company from the City-By-The-Way...and all I got was this lousy T-shirt!o) (Just kiddin! I LOVE my "Drop me 50!" T-shirt!o) No reams of reviews from performances. No detailed treatises of treatment in classical dance classes. Oh, I did get an oral report after much prodding on the part of the younger Princess. But, that's worth about as much to this ballet blog as the paper it wasn't written on! Now it's up to me to recollect what they mentioned and put it into a coherent form on this forum. Well, I suggested they take from an old teacher of mine...and, they followed my suggestion. And, I must have made some impression those many years ago because they say Homer Bryant remembered me. Or at least he claimed to. I remember HB quite well. Early in our acquaintanceship he threatened to throw me out of class when I disrespected him and changed a combination more to my liking. But, I backed down and he let me stay. I learned a lot from Mister Bryant and, hopefully, we'll be able to bring him in to teach some classes at CCDC someday. On another topic, funny how you go to a city far away and take from a teacher you've never seen before and they give you some of the same corrections you've been getting at home. It's a recurring phenomenom and La Sonambula learned again that many teachers see the same things when they look at the same student. There's a hierarchy of corrections that all good instructors learn to draw upon. The most basic corrections should produce the greatest improvements, but, they are the hardest to incorporate. After a while, a dancer needs to realize it's not "more", "new", "different" or "better" corrections they need to progress. It's doing the work of applying the corrections they've been already getting. Also, interesting to have two dancers watch the same performance and come away with entirely different opinions on the choreography. But, they did both agree that their first taste of SFB was impressive...and the dancers of that company are, indeed, world-class. I've said it before and I'll say it again...San Francisco Ballet is one of my favorite dance companies based in one of my favorite cities. The company used to perform every year in my hometown. I used to sneak into the old Blaisdell Arena to watch company class and rehearsals. Watching Evelyn Cisneros in R+J was an education in the development of character acting while dancing. But, bottom line, I am intensely jealous of SarAurorah II and Rothbarta, but, glad to have them back. Next time, pack me in that suitcase...
09.26.2008: Bargain Basement
Here's an excerpt from a press release today of special interest to "starving students" of the arts in the Capital City area:
"...The Civic Center is also introducing discounted student rush tickets this season for selected events. FROST/NIXON will be the first event with $20 tickets for all performances. Student rush tickets will be available for purchase to any student with a current/valid student ID. Tickets must be purchased on the same day as the performance they wish to attend at the Civic Center Ticket Office and are limited to one ticket per student..."
09.26.2008: Dancing On The Web
Here's the website of a fledgling dance company still trying to take flight in dicey economic times.
09.26.2008: Medical Notes of Interest
FYI: This "sadistic statistic" for Connie McHattel who just got that cast off:
(Courtesy Newswise — Women are four times more likely than men to experience a broken forearm and require a cast (immobilization). To examine whether the effects of casting were similar between the sexes, researchers examined immobilized volunteers for a period of three weeks. They determined that while men were able to regain 99% of their strength within a week of removing the cast, women’s strength was still 30% lower when compared to before the cast was applied. These finding may have implications for the treatment of fractures based on gender lines.
Ten healthy volunteers completed three weeks of forearm immobilization. The subjects were fitted with a forearm cast on their non-dominant arm and each persons wrist muscle strength was determined weekly during the immobilization phase, and a week after the casts were removed. The measurements taken prior to the casting were repeated to detect any gender differences that may have developed over the course of splinting or recovery.
The research team found: men’s strength had returned to baseline levels one week after the cast was removed; women’s recovery levels were significantly lower, one week after the cast was removed they still exhibited strength deficits of approximately 30% below baseline. All the women exhibited a slow recovery of their strength (at least a 15% reduction relative to baseline); whereas only one of the men showed a similar deficit.
In explaining possible reasons for the discrepancies, researchers suggest that hormones, and the role they play in regulating muscle mass, may contribute to slower recovery times in women. “This finding is preliminary and on a very small sample size, so, we must caution against over-interpreting our work. However, it certainly indicates that more work needs to be done to confirm and understand the reasons for these discrepancies and the extent to which they occur. However, when our findings are examined in the context of existing work of others, they suggest that women may require additional, or more intensive, rehabilitation programs following periods of immobilization or bed rest.”
(Courtesy Newswise) — Energy drinks: They're readily accessible, legal, and potentially addictive. They claim to improve performance, increase concentration, and stimulate metabolism, yet these highly caffeinated, sugar-laden beverages are causing considerable concern among health professionals.
Excessive caffeine has been linked to elevated heart rates, hypertension, anxiety, headaches, and interrupted sleep patterns. Some energy drinks warn that they're not for use by individuals younger than 18, those pregnant or nursing, or if there's a family history of heart disease, high blood pressure, depression, caffeine-sensitivity, glaucoma, and other ailments. But most carry no warning.
A recent statewide Patient Poll found that:
20 percent of respondents ages 21-30 had used energy drinks in high school or college to stay awake longer to study or write a paper.
70 percent of respondents knew someone who had used an energy drink to stay awake longer to study or work
A cup of brewed coffee has between 80 and 135 milligrams of caffeine. Some energy drinks contain two to three times that amount plus the equivalent of 5 teaspoons of sugar.
"My colleagues and I are seeing more patients coming in with sleep disturbances, often caused by energy drinks," notes Philadelphia family physician Suzanne Steele. Dr. Steele feels that most people should not be drinking these beverages, especially growing children.
"They can often be harmful. Energy drinks contribute to sleep disturbances, obesity, tooth decay, and dehydration. Children should be drinking milk instead to strengthen their growing bones. We're looking at a generation that will have serious problems with osteoporosis based on a lack of calcium intake and obesity from too much sugar. Brittle bones and too much weight on them just spells trouble."
Dr. Steele also cautions that if you have an undiagnosed heart condition, you could be risking your life by consuming so much caffeine. Additionally, combining alcohol and/or anti-depressants with energy drinks can be hazardous. "If you need an energy boost, eat a complex carbohydrate like organic trail mix or a spoonful of peanut butter and a glass of water. Increase your energy level slowly and safely, not with a caffeine/sugar rush."
Elevated caffeine poses particular risks for athletes, according to pediatrician
Anthony Kovatch.
"In the humid heat of summer, you often hear of high school athletes having adverse effects," Dr. Kovatch says, cautioning that while some athletes consider energy drinks as performance boosters, they may in fact do the reverse. "If you drink this stuff because you’re hot, you’re defeating the purpose. Not only does caffeine raise your heart rate, it’s a diuretic. It increases the kidney's disposal of fluid from the body. You’re likely to go to the bathroom more often, which is a problem in the middle of any sporting event. And you may think you are getting hydrated, but instead, you're getting dehydrated. And that can be dangerous.”
Dr. Kovatch urges parents and coaches to discourage the use of energy drinks. “The level of caffeine in these drinks can be better tolerated by an adult body, but not in children and teens. If you’re getting ready for a sporting event, you’re already pumped up and the additional buzz can make you hyper, and then you lose your focus.”
Doctors suggest the following alternatives to energy drinks:
Low fat milk
Water, but not flavored waters. Try lemon and honey, or mint leaves in water.
Diluted fruit juice
Vegetable juice
For more information about the dangers of caffeine and energy drinks, click here.
09.25.2008: Submitted On Spec
So, here's the article on getting more guys to dance I started once and never finished.
Remember, it's aimed at the young, professional male audience:
"Why You (You Snarling Macho Man, You) Should Take A Dance Class!
Why should a red-blooded all-american male even think about strapping on
a tutu, lacing up a pair of toe shoes and taking a dance class?
First of all, get past that misleading mental picture, Baryshnikov.
Guys hardly ever wear tutus and don't call what the women wear "toe shoes"
either. They're called "pointe shoes" and usually only women wear them. As
for why you should take a dance class...just wander into a local dance studio
and you should see the answer, Stevie Wonder.
Women. Wall-to-wall women. And not just your run-of-the-mill females
either. Gorgeous girls...in leotards and tights. So, how do you get your passport stamped to this
fantasy land of female nirvana? Sign up for a beginning dance class, Fred Astaire.
Okay, now the hardest part is getting past that "real guys don't dance"
thing. Nobody ever saw John Wayne do a "boot scootin' boogie" in Rooster
Cogburn or any of his films. But, remember John Travolta cut a mean rug in
Saturday Night Fever and Urban Cowboy...and if you ever glanced away from
Uma in Pulp Fiction, he was right there shakin' his groove thang,
yeah-yeah. And, martial arts aficionados can tell you Bruce Lee won the Hong
Kong Crown Colony Cha-Cha Championship before he went on to Green Hornet and
Enter the Dragon fame. Can't get more macho than the original Fists Of
Fury!
Don't let that homophobia thing stop you from finding your inner dancer.
True, there are some guys who are a little light in their leotards
in the dance world, but, taking a dance class never turned anyone gay who
wasn't in the closet before. Just keep thinking to yourself: wall-to-wall
women...wall-to-wall women.
But, don't think it's open season at the all-you-can-eat dessert buffet
either. Most dancers are there to dance. You can socialize on your own time. Just remember
a studio "barre" isn't a singles bar. Take your time. Worry about getting
better at dancing. Meeting people usually takes place on the periphery of
training. And, the better you get, the more girls will talk to you. A word
of warning: that dance class you were salivating at was probably an advanced
or professional class. You and your two left feet will probably be starting
light years back in the absolute beginning class. These are the classes that
housewives usually sign up for, but they also include aspiring models and
actresses. Beginning adult students are usually a self-selecting group.
Little more comfortable with their bodies. Little more in shape. If that
sounds a little like you, cross-training in dance could be right up your
alley.
So, how do you start? How do you figure out..."
Whaddya think? Should I go ahead and submit it someplace?
09.24.2008: Pending Performances+Reminiscences
This just in to the Capital City Dance Center Newsroom:
"...RIVER NORTH CHICAGO DANCE COMPANY (April 22, 2009) –
River North Dance Chicago Company makes its Civic Center debut. Dedicated to the
advancement of jazz-based contemporary dance, RNCDC...has grown into a
professional ensemble that performs at home in Chicago and tours across the United States
and internationally. Tickets go on sale to the public Monday, Dec. 15, 2008. Tickets prices to
be announced..."
...this one will date me, but, I remember when I was living and training in Chicago's
now-trendy River North neighborhood (Working at the old Kampai Sushi Bar just
kitty-korner from the Merchandise Mart, a stone's throw from the Chicago River) and I
auditioned for this pick-up company in a teeny studio at the top of a walk-up. I wasn't very
impressed. At the top of the dance heap in the Windy City at the time was Lou Conte's
Hubbard Street Dance Company still setting the gold global standard. It was followed by
Joseph Holmes Dance Company, Joel Hall Dancers and a few other aspiring artistic
wanna-be groups. RNCDC was in that more-or-less mediocre mix at the time. It looks like they've managed to step up their game since then. But, at that time, I wouldn't have predicted it. I knew that JHDC was interested in hiring me, and I assume River North was too, but, I had just gotten a firm offer from a real professional classical company. And, off I went to the Duluth Ballet. And, the rest, I like to say, is dance history. (...at least in my mind!o)
09.24.2008: Secret Scroll of Better Ballet
When I was young and training in various martial arts, the other students and I would often
trade speculation about the rumored "secret scrolls" of the Chinese Kung-Fu Masters.
Legend had it that ancient scrolls had been handed down in secret from the time the Shaolin
Temple had been burned down, razed and the surviving monks scattered to the far ends of
the Middle Kingdom. Supposedly, the documents contained secrets like invisibility, the
delayed touch of death and how to walk on sand without leaving tracks. The rumor was that
martial arts superstar Bruce Lee had been killed by such a death touch from
someone in a crowd who was displeased with the disrespect and notoriety the actor was
bringing to the long secret traditions of Oriental martial arts. So, it was with some skepticism
we greeted the news from one of the younger sifu or sibak one day that he had once learned
what was in one of those legendary scrolls. "Do you want to know how to walk on sand
without leaving tracks?" Daniel K asked some of us senior students and junior
instructors or sisuk. Of course, we badgered him to tell us. "It's simple," he said. "The scroll says to
start by walking on sand every day. And, every day, leave less and less tracks until the day
comes when you can walk on sand and leave no tracks." We all guffawed and accused him
of making that up...because really that was no secret at all. It taught you nothing new. So,
then, this is the gist of this thistly epistle: don't wait for some secret technique to make you
better at what you want to do. And, that the greatest secrets of all are hidden in plain sight.
What if that one correction you needed to become a better dancer are the ones being taught
to you everyday at Capital City Dance Center? Don't let any teacher ever accuse you
of letting them "cast pearls before swine". And, one dancer's valuable correction could be
another's distraction. So, now that I have switched from the martial to the performing arts, if I
were to write on some scroll the "secrets" of becoming a professional dancer, they would
be:
Take all your classes.
Listen to your teachers.
Apply all corrections.
Hard work is the great equalizer.
Come early before class. Stay late to work on things.
Write down corrections and combinations after class. Review them often.
Watch as many good performances as you can, live or Memorex. Copy what looks good, discard the rest.
Have fun!
...Do these "secrets" seem too simple for you? This is how teachers hide things in plain
sight. There's the "secret scroll" of invisibility. A word to the wise is sufficient. Do all these
"secret" things and you mark yourself as "one to watch". (So, how do I manage to make
everything come around to making a point about dance? Dance is life is dance is life...and
everyone's a dancer! The only difference is the quality of the training. ...And, this is a ballet blog after all!o)
09.24.2008: Like A Phoenix From The Floods
A former CCDC Workshop Instructor sends this along:
"...I wanted to let you all know of an exciting event happening this weekend in Cedar Rapids
that we are a part of. Its the Global Dance Fest, and it takes place at the
CSPS in the Czech Village. I will be teaching a modern dance workshop on Saturday
from 4-5:30 that is open to all ages and skill levels, and we will be performing that same
evening, along with other festival participants at 8 p.m. More information about participating
artists can be found here. If you
buy a ticket for the performance for $10, you are admitted free to one workshop, otherwise
workshops are $5 each. Weekend passes are also available for $20 and will get you into the
performance and as many workshops as you'd like. It is advised that you purchase tickets
ahead of time. For more info on ticketing, click
here. Please pass along the flyers, spread the word, and support your local arts!
Nicole Hussain Morford
Artistic Director Poetic Rebound Performance Company"
09.23.2008: The Sprain In The Lane Is Mainly A Big Pain!
The CCDancedoC sent this out recently to the parent of a student who took "tripping the light fantastic" a little too literally. (To make the record crystal clear, she didn't hurt it in any CCDC classes):
"...Make sure she ices it frequently. Two, three, four times a day, 20 minutes tops at a time is best. Ice massage. (But, not right before class, once she comes back.) When she does come back to dance, consider using an ankle wrap. Keeping the swelling down will promote healing. On advice of your physician, Tylenol or ibuprofen..."
...Once you do come back, ice and heat before class. Just ice afterwards. Err on the side of caution in recovery. Take it easy in class. Take the time to warm-it up slowly and carefully before barre. Take care of it, so your injury doesn't become chronic. Keep in mind, once you sprain it, you're at increased risk of respraining it for a long time after. And, remember, the CCDancedoC is not a medical professional, just a former dancer with a "street degree" from the "school of hard knocks".
09.22.2008: Whispers In The Wind
From recent e-mails to a distant distaff dancer:
"...So, I actually had a more consistent plan for all the level of ballet classes I teach this week. First, at the level IV, I introduced "contre temps". Teaching them forward and, even, reversing the step at the barre. Then, getting them to perform the step in center...and integrating it into the grand allegro combination. In level V, I introduced the "contre temps battu" step, both the single and demonstrating the double, both forward and reverse. In level VI, I reviewed the "contre temp battu double" and introduced "contre temp battu en tournant". I'd actually only performed that step in a class once before when a former principal dancer with the Hartford Ballet and I used to give each other dance classes back in Honolulu. It's not as hard as it sounds, but, gives a little flair to the step. (But, try reversing it!o) I also taught "tour de basque" and sissons in the lower levels. I think I'll demonstrate the difference with "soutenou turns" and "sissou" over the next few classes. Balanchine spotting during Grand Menage is always challenging for the new level VI's!o)
The other thing I've been working on this week is: choreographing a new Merlitons as rehearsal starts this weekend. I've known and danced to this music all my life, but, I started by trying to listening to the music with fresh ears and an open mind, over and over, letting it seep into my subconscious. I always want to reflect the structure of the music in the structure of the choreography, but, I want to introduce enough variation into the steps that's not always evident in the music. I know that at the University level, actually choreographing to music is often considered old-fashioned. But, that doesn't bother me. Music, to me, especially in classical choreography, should always be the starting pointe. Not slavish, mind you, but, recognizing the music as the framework for the choreographic arc.
I have to constantly remind myself to try to avoid choreographing too much, too early. Like most dancers-turned-choreographers, I always have an urge to get a lot of steps done and down, so, I have something to teach at this first two hour rehearsal. But, setting the steps often kills the alternative---and, possibly, more creative---options. Balancing on the edge of not knowing and not setting can be very unnerving and unsettling as you can imagine. I'll probably throw some steps at the dancers this weekend. Settle on some steps at the last moment. I'll probably try and start by playing with some things. Learn what the dancers can and cannot do. Fortunately, I only have one rehearsal this weekend. Next week, I'll have to be listening to the Dew Drop Fairy music to set her entrance and solo...and repeat the same unsettling, unnerving process all over again..."
...and, I have some advice for beginning student choreographers. You don't have to make it as difficult as possible! To me that's always a sign of inexperience. Difficult steps just for the sake of difficulty almost always is just a case of the choreographer saying "Look at me! I can make steps that my dancers can't do! If I only had better dancers!" Get your ego out of the way! Use the tools you have to the best of their ability. I don't mean you should shy away from challenging them to raise their game, but, show what your dancers can do! Don't show what they can't! Why? I always try to start by asking "How would the music dance itself if it were visible?" The third answer to that question should be your starting pointe...
09.19.2008: The Second Generation
For those of you who recall the first CCDC student to get a professional contract,
just got this announcement in the mail from the former Mayor Brooke (with a photo of
a widdle, biddy baby!o):
Conner Joseph I____
Born August 27th, 2008
at 7:02pm.
7 pounds, 19.5 inches
Made with love by Brooke & Adam I____
09.19.2008: Philosopher's Stone
Musings from the CCDancedoC:
"Give a man a fish and you feed him for a day.
Teach a man to fish and you feed him for a lifetime"
...to which the CCDancedoC quickly adds:
"...But, if you teach a man to DANCE,
you make him a CHICK MAGNET for ever!"
Fish? Dance? Fish?? DANCE!!! Slimey, scaley, slippery, smelly fish? Or, the company of
beautiful girls in leotards and tights? Guys, you decide! DANCE!!!
And, while we're on that subject, there's something I started once and never finished. It was
intended to be an article for a men's health or fitness magazine (Maybe I'll send it on spec
sometime). I may post that at a later date.
09.18.2008: One2Watch
...Now, how can you mark yourself as "one to watch" during the audition process or during classes, workshops or summer intensives? Here are some tips off the top of the pointy part:
Look the part to get the part
Dress like a classical danseur or ballerina. No baggie warm-ups, sweats or cover-ups. Remember the words of the old Russian ballet master, Ivan Aldi Krapov: Take the instrument out of the case! Clean, well-fitted leotard with "no holy" tights, hair in a bun---no bangs, no "wispies"--- for women. Find a style and color that flatters your body type. Hard to go wrong with black leo and pink tights for girls, black tights and white, form-fitting t-shirt for guys. If you're not sure what's best, ask your teacher or a trusted professional dancer. Think long and hard before wearing a non-traditional color.
Pay attention during the audition or workshop
Don't ask needless questions, but, don't hesitate if something's not clear. Listen to every other question and to ALL corrections. What impresses me a lot is when I give a general correction or to someone specifically...and I see one or two other other dancers apply it immediately as well. This immediately marks them as "ones to watch".
DON'T engage in a conversation with me when I'm correcting you!
I'm not there to make friends at first. My first job is to give you the correction and make sure you understand it. Not to listen to your excuses about why you're not doing it. I'm not your therapist or your BFF, I'm your ballet teacher. Take your cue from me how much banter I'll tolerate.
Thank the teacher.
The curtsy or bow at the end of each class is de rigeur, but, a one-on-one thanks is usually appreciated. As usual, take your guide from the teacher. And, if it seems appropriate, you can always ask for guidance. What should I work on when I go back to my regular classes or before or between the next class/rehearsal? What should I do to better prepare for the next audition/workshop/rehearsal?
...Okay, if I think of more, I'll post them.
09.17.2008: Cross-Training4Dancerz
I was caught off-guard the other day when a new transfer student asked me what she could do outside of class to help her gain strength for ballet after her first real class. Actually, I was pleasantly surprised because it usually takes a little while before new students actively solicit such advice. (It marks this student as one to watch.) But, what immediately leapt to mind was core conditioning. I always like to say "there's no such thing as a good, weak dancer" and "good ballet comes from the inside-out". So, I suggested abdominal "crunches" every day. But, I also cautioned her to make sure to do them without sticking the stomach out. (Doing crunches the wrong way is worse for ballet dancers than not doing anything at all.) Scoop that midsection in. Do the crunches by pulling the stomach in and down to lengthen the lower back against the floor. Do abdominal strengthening every day. Throw in some oblique crunches, as well. When you first start, you should do enough crunches to "feel the burn", but, not so much as to lose proper form. I also suggested she do calf raises on the stairs. Hang your heels off a stair step while holding on to the railing or wall. Slowly raise and lower through the full range of motion. Do 8-to-16 to warm-up, then, 8-to-16 on one leg, then the other and finish off with 8-to-16 with both legs again. Remember to do enough to feel the burn, but, not so much as to lose form. (Keep the weight centered on the big toe and the toe right next to it.) She also asked about using her Therabands. I told her to do the standard foot rotation and pointing exercises with whatever combination of Therabands provided good resistance. (I've always half-joked that dancers don't really need Therabands. They're really for people who aren't flexible enough to reach their feet or ankles on their own.) Now that I've had some time to think about it, I'd also add that "back-ups" are good for dancers to do while warming-up. They're like sit-ups, but, you're on your stomach instead of your back. You can also pick up some Pilates matwork DVDs for more cross-training for core conditioning. Or, better yet, take CCDC's Pilates class on Saturday morning. (More students and parents should be taking advantage of that class. Lotta valuable core conditioning explained and performed Saturday mornings. Alissa's really giving some good information.) Also, some Yoga DVD's would be good for stretching and strengthening. I really like Rodney Yee'sYoga Conditioning for Athletes. It's over an hour, so, you might want to start with some of his beginning classes. And, finally, you can also do the foot strengthening exercises taught in all CCDCpointe and pre-pointe classes. (If you missed them, they'll be reviewed soon.)
09.16.2008: RenGen ReVisited!
Attended a local presentation on the arts recently. It was part of a national series. I didn't stay for all of it, but, I did hear the full presentation by the keynote speaker. Patricia Martin is the author of RenGen: Renaissance Generation --- The Rise of the Cultural Consumer and What It Means to Your Business. Basically, she claims the active arts supporter isn't just the classic 1-percent of the population anymore, but, a much larger percentage and growing. (When I was in the local company, one dancer explained it to me by saying if there's a hundred people in your town, you should be able to sell one ticket. If there's a hundred-thousand, you should realistically be able to sell a thousand tickets.) But, she says in order to tap into that growing segment of the arts-hungry population, businesses need to be more creative and offer unique value. So, a dance company, for example, can't just survive on its traditional audience and support groups. (That may have been what happened in the Capital City when the local ballet company's audience base was raided by touring national productions and the opening of the local racino.) One example she gave was from Seattle and the Pacific NorthWest Ballet. (And, if you check out that website, be sure to check out PNB Unleashed.) She says, under Peter Boal's Artistic Directorship, they've been able to attract a younger and more affluent demographic. One way was by offering a $5-ticket to working rehearsals. She claims it's the "hottest ticket in town" now. Normally, dance companies try to keep the audience on one side of the proscenium during the rehearsal and performance process. But, Martin claims the "younger, hipper" arts consumer loves to take a peek "behind the scenes" at the raw, unfinished process. So, now, if we accept Martin's premise, the question for corporations and businesses---and dancers and dance companies!---is how to produce that value in attracting new demographics in non-traditional ways? She makes it clear that "thinking outside the (pointe shoe) box" will be the only way that ballet will be able to flourish in the future. Any ideas?
09.15.2008: 2xP Found!
Okay! TG4Google! Found the audio from that The Artists Table conversation here. It's long! Over an hour, but, well worth the listen. If you have the time, listen for more than the talk about the food or music-making. (Make sure you eat before listening!o) Listen for the universal artistic concepts that these masters of different arts share so generously. And, then, aim to become a performing artist and not just a proficient technician!
09.15.2008: More Media Mentions
...and, just to prove I don't spend all my spare time zoning out watching MTV and Reality TV Dance Competitions, I caught a portion of an
intriguing program on PBS this weekend. It was a conversation between two artists about a wide-ranging series
of topics called The Artists Table between violinist Itzhak Perlman and chef Jacques Perin (Not to be confused with the actor, Jacques Perrin). The statement that leapt out at me was
a comment on technique. Perin says an artist must practice technique over and over until it becomes second nature...and, then, forget about it.
And, Perlman agreed. He said technique is the means to an end. The goal of the cook or the musician was to "share the soul" of the music
or the food. Perin, in fact, said to write down a recipe for one of his dishes, is to "kill it". He says, with experience and technique, you
can eventually "master the moment". He says a bad chef can waste excellent ingredients...and a good one can use experience and technique to make mediocre ingredients approach the sublime. So, how does this apply to dance? Beyond the fact the Balanchine also used to refer to his
choreography as similar to cooking ("a pinch of this", "a touch of that" all to "please the customer"), as dancers we must hone our technique to the
sharpness of chef's blade...and, then, forget about it...or, really, transcend technique. It's the choices we make with the "ingredients" of music, space, phrasing, steps and audience that enable an artist to "share their soul" with "the customers". Not "just" technique, but, what we do with
that technique to touch an audience. You can't spell "heart" without the "art"! That's what I'm keeping in mind as I approach my next choreographic assignment this weekend. That's what I'm hoping the dancers are doing as they prepare for first rehearsal. (I couldn't find the transcript of
Perlman and Perin on-line yet, even though it was promised at the end of the show. But, I did run across some
Great Performances webvideo that looked interesting.)
09.12.2008: Bad Boy Productions!
So, I was watching MTV'sMaking The Band IV series the other night (TG4DVRs!o). These are the episodes where Day 26, Donnie and Danity Kane are rehearsing for their big concert tour. Wow! what a big difference between the brand new group and the seasoned veterans! Day 26 and Donnie are struggling, while the girls of DK are like a well-oiled machine. But, I recognized a frequent downward spiral that's common in many rehearsals and I thought that might be a good point to make as we head into the Nutty+Crackly rehearsal season: Don't do a Brian! Brian's the D26 singer/dancer who takes the longest to learn choreography and doesn't like to be reminded of that fact. Lotta testosterone in the room whenever the boyz rehearse! (Even in professional ballet companies! Trust me, I've been there. I'm guilty, I know!o) So, the choreographer, Laurie Ann Gibson, focuses more and more on B. And, the more she critiques him, the more flustered and unfocused he gets. It's a vicious cycle that eventually ends in a big blow-up and LAG storming out of the studio. So, here's the lesson, boys and girls: If you can't be the best in a rehearsal, at least don't be the worst! If you sense that scenario might be happening, nip it in the bud! Do whatever it takes to keep the choreographer/teacher/ballet mistress/master off your back! Work on your own. Ask for help. Put in some overtime. It's not fun being the worst in the room when everyone and the rehearsal director knows it! I've been the best and the worst in a rehearsal...and, believe me, one's a lot more preferable than the other! So, get ready for your rehearsals now! Take your classes! Work on your technique until it becomes second-nature. You can't work on placement and technique while you're trying to learn choreography, staging and who your character is...that's what class is for! When you start rehearsal, it'll help to get a copy of the music (way before is way better!) and listen until you're sick of it. Then, listen some more. You should know that music forward and backwards. So, that even if it starts in the middle you know exactly what step and where on the stage you should be. Do your homework! Write down your steps and corrections after rehearsal. If you can't remember them, call someone! Go over all the steps just before your next rehearsal. And, don't just forget about your part between rehearsals. When I was made a principal dancer in my first (very small) company, I was rehearsing three or four or five different pieces all day long. The only way I could remember was to actually write it all down later and review all the steps. I couldn't just trust myself to remember like I did when I was a student or part-time dancer. And, if you can't "mark your steps" on your own time, make sure to visualize, visualize, visualize! I find a good time to mentally rehearse is just before you go to sleep. Remember, don't be the worst in the room! Be the best! Don't be a Brian! Merde for rehearsal!o)
09.08.2008: She Lives!o)
Update from unnamed Capital City Dance Center alum:
"...I just finished my second week of classes. Last week I was so sore I could barely move, and I feel that way tonight too! Luckily I had last weekend off to recover. I am dancing a lot more than I have in a long time, probably since my senior year. So I know my body can do it, I just need to get used to it again! I auditioned for Dance Gala on the first day of school. I had not (much) luck there. The audition was three hours with around eighty people there. It was VERY hot, cramped, and you could barely see what was going on. I was very glad to be out of there. Tomorrow there is one more audition for the Gala. A guest artist is coming in to set a Balanchine piece for Gala. I figured I would give it a shot! After all, it is a pointe piece and not very many dancers in the department are on pointe. So that right there limits the competition..."
We interrupt this e-mail to make a point (en pointe): This is why the Ballet VI students are being introduced to hard-core Balanchine and Vaganova technique to supplement their general classical training. The more familiar you are with diverse ballet styles and techniques, the more versatile you are as a choreographers' instrument. Hopefully, this'll give our unnamed CCDC alum un jambe up on the competition!o) Now, back to the e-mail...
"...I had an audition last night for a choreography class, and one again Sunday night for the Collaborative Performance. So we will see! I will let you know on the outcomes.
I am taking ballet and modern every day, and pointe twice a week. I might drop into some other pointe classes if I have time. I am also taking Improv, which is not nearly as bad as I thought it would be. Dance Production is interesting, but very easy. I am kind of bummed though because my teacher said normally we get to do a lot of hands on things. We can't do the normal things this semester because Hancher and the theatre building both got flooded.
Here's a tidbit you will find interesting! George de la Pena (who is normally one of my ballet teachers) is working in New York this semester for the Joffrey School (where Katerina would have gone). Anyway, the department brought in guest teachers to fill in for him. They are the couple that danced the principal roles in Nutcracker my freshman year! I don't know if you remember them...I think the husband's name is...Don't quote me on that. I recognized them immediately! I can't wait to take class from them.
...I can't believe there were 33 dancers in one class! The studio must have been packed. Thanks for filling me in on your latest combos and corrections! I love reading that stuff. It helps to jog my memory when I can't be in your class everyday. Trust me, I am struggling to remind myself everyday to LIFT and turn out, etc. even though I am not getting constantly reminded. But I am trying to self motivate myself to work just as hard as I would back at home, without someone pushing me.
Of course I remember the "every assemble' possible" combination! I'm not going to lie, there were times I despised it, but it is a great combination. So far this year I have not been given anything even close to as challenging as that in ballet..."
..."despise" is such a strong word!o(sniff!) I'm only trying to challenge you and push you out of your comfort zone! Did I succeed too well? Should I back off and make it easier and let you walk into that and every other audition unprepared? I think you know the answer, my petite li'l unnamed CCDC alum!o)
09.08.2008: Hot Ticket
Fresh off her successful marathon presentation at ArtStop this weekend, this e-note from Capital City Dance Center Guest Limon Instructor Kathleen Hurley of Hurley and Dancers:
"Greetings! I want to encourage everyone to make a point to see the production of All My Sons presented by Repertory Theatre/Drama Workshop -- members of our VPArts group. I saw the opening night production and was simply blown away. Excellent script -- very INTENSE, top quality acting, high quality production value on the lighting, and brilliant acting. Well worth your time to attend.
eXcerpt from eMail explaining finer points of ballet classroom etiquette (and you can carry them over into your other dance classes as well):
"...Normal ballet protocol is if you’re not in class by at least the rond de jambe exercise, it’s too late to ask to enter. But, as usual, it’s up to the discretion of the teacher.
Proper ballet classroom etiquette is for the late dancer to discretely enter the studio, stand by the door and wait for the teacher’s attention. A little curtsy or bow is an unspoken request for permission to enter class. If the teacher nods or waves them in, the student then quietly enters and finds unused space at the barre. The late-arriving dancer should start at the beginning with plie’s, tendus, degage’s and catch up to the rest of the class. You should never just start doing the on-going exercise without first going through the proper sequence of the barre. The dancer should then apologize formally to the teacher after barre or after class and briefly explain if given the chance.
If you ever have to leave early from a ballet class, it’s polite to let the instructor know before that class begins. And, when you do exit, do it quietly. Gather up your things and stand by the door. When the teacher acknowledges your presence, a quick curtsy or bow and you can leave. If, after waiting a reasonable time and the teacher doesn’t notice you, it’s considered acceptable to bow or curtsy in their direction and quietly exit. If you ever just pick up and leave class early without getting permission or acknowledging the instructor, don't ever expect to be allowed to take that class or from that teacher again.
These traditions spring from the royal origins of ballet and have been observed since the 16th century..."
09.05.2008: Young+Boy+Ballet=Fame!
We need more success stories like this:
"...Alex smiles. He's used to being the youngest - and lone boy - in dance classes. And as of this semester, he became the youngest student allowed to take classes in the UI dance department..."
Read this from The Daily Iowan and, then, round-up more boys for CCDC!
09.04.2008: Update4Alumz
Pertinent eXcerpts from recent eMail to recent Capital City Dance Center alum:
"...The first week back went well. I think enrollment has increased quite a bit...I actually did floor barre for the first Level 6 I teach on Wednesday night. Just to give the dancers who were taking double classes a little rest while still working placement. I told 2K2M not to worry, we're going to be pushing her quite a bit this year! (BTW 2kudos to 2K! She started with us as a 3-4, went to full 4 the next year, was promoted to 4-5, then, jumped to full 5 last year. This year she's been promoted to 5-6! That's as little time as possible in each level. Normally we expect dancers to spend two or three years in a level!...KK's on the accelerated plan apparently!
Last night, taught the new fives flic-flac and brise's, did the "every assemble' known to man" combination. Do you remember that one? Assemble' croise devant, derriere, ecarte and croise' devant? Reverse followed by two assemble' double over and tombe' pas de bourree' chasse' to Vaganova assemble'. Repeat second side. We'll reverse everything when I get them again on Thursday. And, I'm thinking of stepping that up to brise's and assemble' battus for the six class tomorrow night: brise' devant, brise' derriere, assemble' battu ecarte' to brise devant. Reverse. Add on two assemble' double BATTUs, tombe' pas de bourre' to a modified chasse' assemble with BATTU. Repeat second side and reverse. I DARE you to try that in your classes! Let me know how it goes.
Otherwise, always working to reinforce proper pelvic placement and ballet breathing. Always a struggle getting dancers to get taller and consistently turn-out to return from tendu, glisse' or degage'. (Toes beat the heel back from front, reverse from the back) Or replace and lift from derriere. Still want dancers to work harder on stretching and building the strength to use higher extensions without straining. (Except for Sleeping Beauty II, of course!o)
Just read an article about not over-thinking as a key ingredient for success in sports. So, I think I'll try experimenting with that by giving pirouettes with very little or no time for preparations. Sometimes we focus so much on careful placement and technique...that the dancing gets lost. Does that make sense? Or am I over-thinking this?..."
09.03.2008: Excellence Of Exercise!
Big kudos to 2K2M's maternal unit! Surviving and thriving in the Saturday morning Pilates class! 2K says her mom was feeling it the next day, but, is still committed to increasing her core conditioning every week! Now, what about the rest of you parents??? Dancers, how about using Bring a Friend2Dance Month to introduce you and your mom, dad, brother, sister, neighbor to that Pilates class? Here's some info to help win your argument:
(Courtesy Newswise) — Finding excuses not to exercise is easy. The Mayo Clinic Women’s HealthSource offers ways to overcome common barriers with some creativity, flexibility and a different mindset. Here’s a sample:
Excuse: I don’t have time to exercise.
Schedule exercise in your day as you would an appointment. If you wait to find time, it probably won’t happen. (Or sign up for that dance/Pilates class!o)
Turn off the TV. Free up time by watching one less program.
Think activity rather than exercise. Mow the lawn; climb the stairs; park farther from your destination.
Excuse: I’m too old.
It’s never too late to start. Even moderate physical activity, such as walking or raking leaves, can help prevent or delay age-associated conditions such as heart disease, diabetes and high blood pressure.
Excuse: I’m too tired to exercise.
Realize that exercising increases energy. You may be tired because you’re not exercising, or not getting enough sleep. Go to bed earlier.
Be prepared. Have workout clothes ready on top of the dresser. Keep a bottle of water in the refrigerator. Simple shortcuts may make it easier to see plans through.
Make lunchtime count. Keep a pair of walking shoes at your desk and take a brisk walk during your lunch break.
Excuse: I’m self-conscious about how I look when I exercise.
Others probably feel the same way. Remind yourself what a great favor you are doing for your health.
Go solo at first. As you become healthier and more at ease, you may feel confident enough to exercise with others.
Excuse: I’m not overweight, so I don’t need to exercise.
Being thin doesn’t necessarily mean you’re fit. Although a healthy weight is important, it’s also important to get regular exercise.
Excuse: I can’t exercise because I have a chronic health condition
This is valid only if your doctor has told you not to exercise. Physical exercise can help manage symptoms of many chronic conditions.
09.02.2008: Bienvenido! Todos Mis Amigos! Irrashaimase! Tomodachi!
September is Bring a Friend2Dance Month here at Capital City Dance Center! Don't you know someone who should be dancing? Everyone is a dancer! (The main difference is the quality of training!o) Invite them to take an age-or-skill appropriate dance class or two for free! We like to schedule this opportunity early in the school year, so dancers can introduce their friends or neighbors to the performing arts. And, sometimes that invitation can be that little nudge that some shy kids need to sign-up for ballet, jazz, hip-hop, creative movement, lyrical, highland, modern or Pilates. And, this early in the school year is a good-time for kids to start classes without skipping a beat, to "hit the ground dancing", so to speak. Not a lot of material has been covered, dancers and teachers are still getting to know each other, it's an excellent opportunity to start training your "inner dancer". And, don't feel left out if you're reading this and your kids don't actually have an invitation from a CCDC student to try out a class or two. Just head to the contact page, leave us a note and your kids can observe or participate in the classes of their choice as a BFF of CCDC!o) Bring a Friend2Dance all month long here at Capital City Dance Center!
09.02.2008: Soles of the Dance?
Can't get enough of Hermione Granger? Bummed because the new Harry Potter film has been delayed until next year? Well, there's still hope, you Muggle! Click for a preview of the new movie version of the classic Ballet Shoes. Co-starring Emma Watson of Potter fame. Possibly bourre'-ing soon to a theater or DVD player near you? Here's a quick review.
08.29.2008: Welcome Home!
Capital City Dance Center is proud to announce the addition of Karina Sturdevant to the CCDC permanent faculty. Karina was born and raised in the metro and graduated from Dowling High School. She trained alongside CCDC Artistic Director Melissa U in the PreProfessional Division of the Des Moines Ballet School. Karina also apprenticed with Ballet Iowa when Emery U danced in the company. Her full bio is on the Faculty page. She'll be teaching Ballet III-VI classes on a regular basis and modern, jazz and other classes as needed. Please join us in welcoming Karina Sturdevant and daughter, Aniko, to the Capital City Dance Center family!
08.28.2008: Words 2 the Wise!
Here's some advice the teachers have been giving to CCDC students stepping up to a new level as the fall semester gets underway this week: Don't forget what you already know when you try to learn something new. Sometimes dancers (people!) suffer from that "the latest is the greatest" error. We concentrate so much on that new step or combination, we sacrifice the old steps and fundamental technique.
So, whether you're learning flic-flac turns, grand renverse, advanced Balanchine or Vaganova technique or that difference between ballone's and ballotte's and en face and efface' seems elusive...don't forget the fundamentals that led to your promotion! Placement, turn-out and stretch should always be the basics your more advanced steps are built upon. Learn the new steps...and, then, go back and make sure you're still placed and replacing placement, turn-out and stretch.
The process of learning any new skill is usually: learning the basics and the vocabulary, then, putting those together to make intermediate steps. Then, GOING BACK and strengthening the basics. Then, putting together intermediate steps to make advanced steps. AND, THEN, GOING BACK TO THE BASICS TO RESTORE WHAT FELL APART! Never feel like you're too good to take a more fundamental or basic class. (And, kudos to the many upper-division students who are working in extra classes in lower levels!o) If you stick with dancing long enough, you'll find most professional "company classes" are very basic for exactly that reason.
And, don't worry if it seems you're out of your league at first in your new level. Work hard, take all your classes, make-up what you missed and listen to your teachers. Practice makes perfect. Remember, "the first time is the worst time". Soon those new and strange steps and combinations will seem easier and more familiar. The whole idea of being promoted is to challenge you to step it up! If we didn't think you have what it takes, you probably wouldn't be there! (And, you new Ballet IV's: Don't be a GOOBER!o)
08.27.2008: The Reviews R In!
eXcerpts from eMailz:
"...had a chance to...observe the Nutcracker auditions this weekend. I want to compliment you on how beautifully trained and expressive all your dancers were, from the youngest to the most advanced...ALL yours looked great!...I look forward to seeing many of your dancers cast in showcase roles in the production this winter..."
08.26.2008: Dimessage From Dimitry
Just got this from Prince FlorimunDima:
"...I received this email from my friend with this video attached. I don't know if you've seen it before, a truly stunning performance. Hand In Hand Choreographed by Zhao Limin. Performed by Ma Li and Zhai Xiaowei.
...This was so moving! It literally brought tears to my eyes!
08.25.2008: DWTS Latest Line-up Announced!
Here's the just-announced list of the new Dancing With The Stars courtesy of bogger Tonya Planck:
Grammy winner Lance Bass
Chef Rocco DiSpirito
Beach Volleyball Gold Medalist Misty May Treanor
Gold medalist sprinter Maurice Green
Singer Toni Braxton
Reality TV star Kim Kardashian
Disney star Cody Linley
Actress Cloris Leachman
Actor Ted McGinley
Actress Brooke Burke
Comedian Jeffrey Ross
Footballer Warren Sapp
Actress Susan Lucci
...Just eye-balling by the brief descriptions, I think Lance and Cody have a leg up on the competition. Also, hats off to the winners of ABDC! I was pulling for Super Cr3w for awhile. The voting public finally gets one right! Now...on to the November elections!o)
08.25.2008: Redemption! And A Dig4more!
Finally! All my hinting and not-so-subtle innuendo has wheedled an e-mail response!o) Now this is the way to start a Monday and a new semester!o):
"...You must know that we all love you! Come on, you don't need any e-mails to know that! :) Haha..."
...Thank you, whoever you are! ...(sigh!) But, now, that I know at least one of you doesn't "hate me"...I'm left to ponder and wonder if I'm a good teacher at all...(sob!) (...hehe!o)
08.22.2008: Digging4Compliments?
An e-mail exchange between two unnamed members of the CCDC faculty as they prepare for the Fall Semester to begin on Monday:
"...Just reading the website and updated myself on all the latest news at CCDC. I feel so disconnected! Don't worry E, there is nothing in the unsolicited email bag about me either! ;)..."
"…if I write something about your '…spectacular, jaw-dropping choreography and cutting-edge instruction…' will you submit something about my 'mediocre, luke-warm classes and groan-inducing sense of humor'?"
"More than mediocre! Mediocre instruction is how I would describe (insert name of other inferior local dance studios here... which is all of them :). I missed taking your classes last year. I love your 'groan-inducing sense of humor', but more so I enjoy your emphasis on proper placement and great love of ballet evident in your classes..."
08.22.2008: Warning: Band May Be Hazardous To Your Health
Hey, all you band-geeks and band-chics! Read 'em and weep!o):
(Courtesy Newswise) — As another school year begins, music students should remember that injuries aren't just for athletes. Because of the intense rehearsal and repetitive motion required, 89 percent of musicians suffer pain and injury, most commonly involving the hand, elbow and shoulder. Young students are especially at risk.
Here are five tips to help music students avoid injury and enjoy a lifetime of melody:
Lack of physical conditioning is the key factor behind injury in musicians, so take time to exercise and engage in non-musical activities to maximize physical fitness.
Monitor your posture while playing and during other activities, such as computer use and gaming. Avoid awkward, static postures that can contribute to pain, stiffness and other symptoms.
Use stretching exercises before performing and periodically while practicing. For every hour of playing, take a 5- to 10-minute break – away from the instrument – to stretch and rest the body.
Keep your schedule organized at school and at home. Establish a consistent, balanced routine for music practice and other activities, allowing time for relaxation and rest.
To maintain the mental and physical fitness needed for good musical performance, eat healthy food and get adequate sleep.
...And, here's Number 6! Less band! Much more DANCE!
08.21.2008: FAQ
These are some of the questions we've been getting at Capital City Dance Center. Do you have an inquiry that you think other parents or dancers might have about CCDC? Submit them here. Then, check back as we start hyper-linking and answering them:
What brand of tights, shoes, leotard do you require or recommend?:
No specific brand requirements. Jazz and tap shoes should be black or black patent. Hip-hop dancers can wear clean, indoor-only sneakers at discretion of instructor.
Check the Tuition Table. Don't forget the annual $20.00 registration fee. And, if you decide to take part in the Spring Showcase, there are recital and costume fees.
Can I bring my dancer to another day or time to make it up?:
You can always bring your child to the same level or lower at another day or time. Please use the contact page to inform the office so the teacher will know ahead of time.
Can I go to another studio and take classes at CCDC to supplement my training?:
Anyone can take Open Division classes. Some commitment and demonstrated ability is required for PreProfessional Division participation. These decisions are made on a case-by-case basis. Check with the office.
What's this about scholarships for guys?:
In order to address the gender inequity in the performing arts, CCDC is committed to working with families or individuals to offer tuition waivers, scholarships or work-scholarships to encourage more boys or men to train in dance.
When do you have partnering or pas de deux classes? Who's eligible to take those classes?:
We always encourage males interested in learning partnering skills to contact CCDC for more information. We schedule Pas De Deux classes whenever the ratio of available men to advanced CCDC PreProfessional Program Students is sufficient.
What about private lessons or private coaching?:
Those are available. We schedule private lessons around regular classes. Availability varies at the discretion of faculty and CCDC. Contact the desired instructor or the CCDC office.
My child has taken at another studio for a number of years, how do I know what classes to sign up for at CCDC?:
We usually suggest taking a class for level placement. Just so you know, most students from other studios need to take remedial fundamentals and terminology to catch up to their CCDC age group. Advanced class placement depends on ability not age.
(Courtesy Newswise) — It's that time again as thousands of college freshmen are heading to campus and moving into their dorms. Most colleges and universities provide a list of suggested items needed for dorm rooms. However, a director of residential communities and his staff have come up with the top ten things freshmen often forget to bring to college. They are:
10. Extension cords – “The outlets in their room will always be on the side opposite where they want to put their television.”
9. Masking tape – “For attaching extension cords to the floor so they don’t trip on them in the middle of the night.”
8. Social Security card and other documents – “Students need them if they want to get a job somewhere.”
7. Extra underwear – “No one does laundry as often as they think they will, and you just can’t run out of the essentials.”
6. A “renter’s” insurance policy – “A college or university only insures the building, not a student’s personal belongings such as clothes, books and electronics. So, they should be sure they have insurance to cover such things.”
5. One half of the things already packed – “Students usually bring everything they own and find that once they get here that they do not have enough space for it all.”
4. Patience – “A student may know more than the average incoming student about the campus, but they still won’t know it all, as policies, activities and living arrangements change yearly. So, be patient, ask questions and listen.”
3. Communication Skills – “Freshmen need to understand that the collegiate experience is a wonderful time to meet and interact with people who are different than they are. It may be the first time they are asked to communicate their opinion, wants and needs to someone else in a constructive way.”
2. An open mind – “Being open to new and different ideas can be a little scary at first, but the benefit of listening to another perspective will be invaluable in a student’s development.”
1. Positive energy – “The first month can be emotionally and physically draining. Having a positive attitude will get a student through the rough spots.”
(Courtesy Newswise) — New research challenges a growing trend toward holding kids out of kindergarten until they're older, arguing that academic advantages are short-lived and come at the expense of delaying entry into the workforce and other costs.
The findings show older kindergartners fare better academically largely because they learn more before starting school, not because age improves aptitude, said Professor Darren Lubotsky.
Older students post higher test scores than younger peers during the first few months of kindergarten, but their edge soon fades and nearly vanishes by eighth grade, according to the study.
"If it were true that older kids are able to learn at a faster rate, then the differences in test scores should get bigger as kids progress and the material gets more difficult. But we really see the opposite," Lubotsky said.
The findings counter decades of research linking age to academic achievement that has led states to push back kindergarten entrance age deadlines and convinced more parents to start children later than the once-traditional age of 5.
"Kids learn at lot before kindergarten, especially if they're in preschool. One way to think about it is that the oldest kid in kindergarten has about 20 percent more life experience," Lubotsky said. "But once they start, they basically learn at the same rate."
Based on the findings, Lubotsky says parents and lawmakers need to weigh costs and benefits as they consider when to start kids in kindergarten.
"Older kids may do better at first, but there's a tradeoff," he said. "They're also a year in school behind other kids their own age. At the end of the line, somehow that year will catch up to them. They start work a year later, and parents have an extra year of child-care costs if they delay entry. So it's not free."
Lubotsky says the study also found that wide age gaps caused by holding kids back from kindergarten have both positive and negative effects on younger students.
On one hand, younger students tend to score higher on tests when they have older classmates, who may help tutor their peers or simply set higher standards that others seek to achieve, Lubotsky said.
Lubotsky says parents still need to weigh children's needs and consider holding them back if they are immature, can't sit still in class or have other issues that could affect learning. But he says the study's bottom line is that kids are generally best served by starting school as early as possible.
"Kids get so much more out of just learning," he said. "Whether they go to school earlier or later, that's really not going to matter much at the end of the day."
08.20.2008: Star Crossed Lover
Here's an excerpt from a principal ballerina's (infrequent) blog:
"...I found that when I was getting a correction, I would try to apply it while listening, but this got in the way. It’s a common thing that dancers do. So, I found that if I really just stood and listened to what she was saying, I received more information and could digest it and apply it sooner. I think listening is a skill that everyone in the world can work on. The better you listen, the more knowledge you have. “Knowledge is Power”. So, I took listening to a new level for myself..."
It's not very current, but a lot of "fantastico" information from former PNB Principal Noelani Pantastico.
08.19.2008: Beijing Beauty
I know it may sound sacreligious here in the heartland, but, I think gymnast Nastia Liukin deserved to win the all-around gold medal and the gold medal for floor ex (that last one, she didn't btw. She bronzed it.---Also, now having watched The Nasty Girl on the uneven bars last night, I think she deserved a tie for silver on that one. I actually thought the Chinese should've switched places. I thought the bronze medalist was under-scored...and the gold medalist was over-scored. ...just sayin!o). I know Shawn Johnson tumbles and twists harder and jumps higher than most everyone in the world. But, I think Liukin is more artistic, fluid and flowing. I think the international judges should send a message that values artistry over sheer power. Otherwise, the girls will just keep trying to be like the boys in floor ex. But, they're different. (Viva la diference!) Why do they play music during the girls' floor ex and not the boys? Precisely, because it's supposed to be more "dance-y"! And, I think Shawn, Nastia and the rest of the US Women really won the gold in the team competition. Some of those Chinese gymnasts look like they're 12! Local Chinese tell me privately they don't think those girls are old enough to be 16 in this Olympic year. And, they say the communist government will do "whatever it takes" to win as many medals as possible. So, Shawn got cheated out of her first gold. If they're not 16, someone's cheatin'. And, if them's the rules, them's the rules. Here's hoping Iowa's "Golden Girl" gets to stand at the top of the podium in her final Olympic competition tonight. Because, despite her hints, I don't think she'll still be competing in London four years from now. Gymnastics at an International Elite level is punishing on the body. Life will have a tendency to get in the way if SJ doesn't get her gold this week. (BTW...might as well extend that standing offer for Liukin and Johnson to get some expert dance coaching for their floor ex! Reasonable rates! I've got some experience choreographing and coaching a national silver medal-winning acro-gymnastic routine already! So, have your people call ours!o)
08.19.2008: ICYMI!o)
In case you missed it: Recent Photo Gallery of Capital City Dance Center students from La Bayadere in the local rag. (And, btw Register? "Ballet" is spelled with two hockey sticks!o)
08.18.2008: Glass Ceiling?
Some analysis since Josh was named "America's Favorite Dancer" at the end of SYTYCD IV. First, kudos to my choice from the final four, Katee, for being the last distaff dancer standing and to Courtney for outlasting predictions. I'm surprised Twitch didn't have enough fan support to put him over the top. But, Josh consistently stepped up his game, so, hats off to him. And, looking back over the results of the first four seasons, it seems that classical training and technique might get you to the show, but, it's not going to put you over the top. It might even be a handicap. Danny was awesome technically, but, lost to Sabra. Benji was charismatic and strong choreographically for a ballroom dancer, but, was technically-challenged. And, Nick Lazarini had training and technique coming out the wazoo. Blake might've had an edge there, but, his blatant arrogance probably cost him with the voting public. Now, I'm wondering just how much gender prejudice affects the outcome. I think Sabra won because of blatant lobbying by Nygel. Remember when he said, "I think it's time for America to vote for a woman as their favorite dancer"? A male dancer can be much more spectacular than the strongest females. It's a matter of strength. (Conversely, females should be able to show better line and flexibility than almost all men. But, that doesn't seem to carry as much weight when it comes to swaying the public vote.) Is there a gender bias when it comes to SYTYCD voting? I think there is and I think it'll influence the outcome of another televised dance competion, ABDC. That's why I think Super Cr3w will beat So Real Cru on America's Best Dance Crew. I think the two Filipina girls on So Real dance hard and have compelling back stories. But, they still lack the strength it takes to do the athletic and quasi-gymnastic b-boy moves. Therefore, bet the farm on "Ess to 'da ches'"!...And, the line-up for the next DWTS will be announced next week! Don't look for Warren Sapp to dance up to the standards of Emmitt Smith or Jerry Rice.
08.15.2008: Unsolicited Testimonials Poor In!
More kind words for Capital City Dance Center and Artistic Director/Instructor Melissa Uyehara:
"...Thanks for ALL you do for her and all of the CCDC dancers--I cannot say enough about the experience she has had and continues to have with you (she has tried other places, and doesn't want to go anywhere but CCDC--I'm with her!!)..."
...And, (sniff...) STILL nothing in the old emailbox about...MOI!o(Oh, the ignominy!o)
08.14.2008: Your Research Dollars@Work!
(Courtesy Newswise) — Researchers have found early scientific evidence of the healing effects of massage.
The scientists have determined that immediate cyclic compression of muscles after intense exercise reduced swelling and muscle damage in a study using animals.
The researchers consider the findings a strong start toward scientific confirmation of massage’s benefits to athletes after intense eccentric exercise, when muscles contract and lengthen at the same time.
(Courtesy Newswise) — Working up a sweat could be the most important lifestyle change people with high blood pressure — or hypertension — can make in their daily lives. Yet, although patients who receive exercise counseling seem to listen, few physicians actually take the time to talk about physical activity with their patients, a large nationwide study finds.
Just over one-third of people with a hypertension diagnosis said a clinician told them to increase their physical activity to help lower their blood pressure.
Seventy-one percent of the patients with high blood pressure increased physical activity and saw a drop in blood pressure as a result.
"...I was very sad to lose Will as well. And for some reason this season I'm very aware of how little time they are given to dance their solos. For
some dancers like poor Chelsie it's plenty of time -because as you said
a ballroom dancer doing a solo is just kind of sad (although Benji was
the exception - he could choroegraph!). But when Will busted out James
Brown - I was so mad when the time ran out. I was craving more!!
I loved Mark too and actually think he's kind of handsome when he isn't
doing something completely wacky with is hair -but it was probably time
for him to go. Twitch is just such a character - I like him more than I
actually like his dancing. Although I do think he's a good dancer too.
I agree Courtney will be the first to go -although I love her. Then I
think it'll come down to Joshua and Katee. Neither one has ever been in
the bottom two and I just think they both have such strong fan bases.
I'd be hard pressed to pick between the two. I love them both. I'd
probably give it to Joshua only because I think an untrained dancer has
a harder time on the show -and to do what he's done is amazing..."
...So, I wrote this back:
"...That's the thing about Mark that I might've mentioned appeals to me in Katee's kase (And, probably, Chelsie's, too)...and that is, even though both are very good-looking, they're not very conscious of it, don't flaunt it, don't obsess about it. (Check it out, Jessica!o) They're just not worried about looking silly or dancing demented. The deceptively tall Mark, especially, seems to enjoy the quirky, the strange, the idiosyncratic characters he inhabits and inhales when he gets the chance. I thot his collaboration with the just as quirky, just as strange, just as idiosyncratic choreographer Sonia was a marriage made in heaven...or, more likely, elsewhere! (Sonia could be a stunning classic beauty, but, her Mohawk hair that's dyed and gone to haven challenges your preconceptions just as much as her dance-making does.) Since you've been to Hawai'i, you must know there are TONS of beautiful people there. Drop-dead gorgeous Eurasian-Polynesians, who'd stop traffic on the mainland, don't know they're exceptionally beautiful or good-looking, because so many are in the islands! (Present company excluded, of course!o)
The bad news is the darkness at the end of the tunnel that is the finale of SYTYCD IV looms. The good news is DWTS starts up again next month!o) Is Warren Sapp the early leader in the clubhouse?"
08.04.2008: Food4Thought
Courtesy Newswise — Roughly 86 percent of Americans age 18 and older may be overweight or obese by 2030 and related health care costs would double every decade and could reach $956.9 billion in 2030 – 1 of every 6 health care dollars spent -- according to a new study published online.
The study is conducted based on several large national survey data sets collected over the past three decades. Overweight is defined as having a Body Mass Index (BMI) of 25 to 29.9.
Obesity and overweight are especially worrisome because of their impact on quality of life, premature death, and health care, as well as associated costs. Being overweight or obese increases the risk of many health problems including diabetes, stroke, heart disease, osteoarthritis, sleep apnea, breast cancer and certain other types of cancer. If the rise in current rates of overweight and obesity continue, as most experts believe they will, future adults may have shorter life-spans than the current generation.
According to the researchers, half of U.S. adults, as a whole, will become obese, as will 97 percent of black women and 91 percent of Mexican-American men by 2030.
The authors also estimate that by 2022, about 80 percent of adults may be overweight or obese, and 100 percent could be by 2048. But the prevalence will reach 100 percent in black women by 2034.
Moreover, nearly one third of all U.S. children and adolescents could become obese (body mass index is greater than the 95th percentile) by 2034, and the prevalence could increase to half by 2070. Black girls and Mexican-American boys are especially vulnerable--four in 10 may become overweight or obese by 2030, and half by 2050.
Courtesy Newswise — Television commercials are a common method for advertising food products. According to researchers, these food advertisements have a powerful influence on its viewers, especially university students.
“The transition from adolescence to adulthood has been shown to be a time for taking on many negative health behaviors including increases in smoking and alcohol use and decreases in physical activity and fruit and vegetable consumption,” said Kim Raine, director of the University of Alberta’s Centre for Health Promotion Studies. “In this study, we were investigating whether TV viewership and recognition of snack advertisements were associated with snack food consumption and the odds of being overweight or obese.”
What the researchers found was quite alarming.
University students who reported medium or high television viewership snacked more frequently while watching TV and recognized more advertising than students who were considered low TV viewers.
Previous studies have examined food intake and caloric consumption in relation to TV viewing among adults, but few have considered the role of snacking in relation to TV viewing and body weight status among young adults.
University students who watched over four hours or more of TV per day snacked more frequently while watching TV, recognized more TV advertisements and consumed more energy-dense snacks than students who viewed less than one hour of TV per day. Specifically, male students and medium-to-high television viewers had higher odds of being overweight or obese.
“The link between how much a person snacks while watching TV was directly related to viewing food advertisements, specifically when choosing to eat an energy-dense snack,” said John Spence, co-author of the study. “The exposure to the advertising seems to stimulate a desire to eat that particular food product. Also, sitting watching TV provides a prime opportunity to snack.”
Courtesy Newswise — Food does more than satisfy hunger; it provides fuel for the body and mind, too. So as you make a list of school supplies to buy for the upcoming school year, don’t forget to consider the items at your local supermarket that can also help prepare your child for the classroom.
Dietitian Catherine Kraus says that a balanced, healthy diet enables chemical messengers in the brain — known as neurotransmitters — to function more efficiently. This produces better concentration and memory.
Parents can take several steps to create well-balanced meals and snacks that provide children the energy and nutrition they need to perform well at school, notes Kraus.<>
Breakfast Research has demonstrated that students who skip breakfast in the morning don’t perform as well as students who do eat breakfast. Kraus recommends serving a healthy breakfast that consists of a whole grain cereal, oatmeal or bread with a form of protein, such as peanut butter or a hard-boiled egg.
Pairing the meal with whole fruit instead of a fruit juice offers a way to add more vitamins, minerals and fiber into a diet. Kraus adds that dairy products are an acceptable addition to your child’s breakfast, as long as they are in the form of fat-free or low-fat milk, yogurt or cheese.
Lunch While many schools are making efforts to include healthier items on lunch menus, high-calorie items still exist — including pizza, nachos and sweetened drinks. If you are concerned about your child’s cafeteria choices, Kraus recommends packing a lunch.
“When children consume a high-fat, high-sugar meal, their bodies will crash, and they will be come very tired and lethargic — which is not going to help them perform at their best level in school,” explains Kraus.
When packing a lunch, variety is best; choose an assortment of fruits and vegetables in various colors and sizes. This ensures that kids receive a mix of vitamins and minerals, and it will prevent them from becoming bored with the same packed lunch routine every day. Kraus recommends including a type of whole grain product in the meal, such as tortillas or bread, with a lean protein, such as tuna, turkey or chicken.
She also notes that sweetened beverages are full of empty calories and don’t provide any nutritional value. Opt for a beverage that does not contain added sugars — such as water, fat-free or low-fat milk, or 100 percent fruit juice.
Snacks. When it comes to snack foods, Kraus says that the proper adage to follow is, “Out of sight, out of mind.”
“When you are grocery shopping, keep in mind that if a snack is in the home, your children will likely eat it. So keep healthy food in the house at all times to ensure that they will always have healthy snack options. If you keep candy bars and fruit in the home, most children would pick the candy bar. So just keep it out of the house,” she says.
Focus on finding snack foods that will keep your kids satisfied until dinner and energized for homework and studying. For optimal energy and hunger satisfaction, Kraus recommends pairing protein with a high fiber carbohydrate; serve up string cheese or peanut butter with whole grain crackers or prepare a half-sandwich made with whole grain bread or pita. Another tasty treat option is creating a homemade smoothie by blending yogurt and fruit together.
She also suggests that parents take time each day to wash and slice fresh fruits and vegetables. Remember to place the produce on the counter or at eye level in the refrigerator so it is more accessible to children.
Dinner “A smart dinner will help your child’s brain function. If they are satisfied after dinnertime then they will sleep through the night, and a child needs at least eight to nine hours of sleep a night in order to function while in school the next day,” explains Kraus.
She says that half of a “smart” dinner plate should be made up of fruits and vegetables, and a quarter of the plate should consist of a lean protein. Fill the remaining quarter with whole grains, such as brown rice or whole wheat pasta.
Overall Kraus says that encouraging your children to eat smart during the school day can help them develop healthy habits for life.
“Childhood is a crucial time when bodies are growing and brains are developing,” she says. “It’s so important to fuel the body with good nutrition, and teaching children smart eating habits at a young age is a great idea. It starts with the parents serving as the role model.”
For more information on healthy eating for kids, visit these Web sites:
"...I was very disappointed a few weeks back when my favorite guy
Gev was voted off -however I did expect it. But his solos are amazing and he's just
adorable. I was really shocked Kerrington was voted off - I thought she was a
beautiful dancer...The next week voters lost their minds again getting rid of Will. Good
lord he was soo good. But I think this weeks cuts make sense...I didn't record the results
show but watched it live - only to regret that I wasn't recording. The guest dancer Little
Demon was ridiculous. He's six and could easily beat out any of the beat boys on the
show..."
...So, I wrote back:
"...I'm still shaking my head over the ouster of Will on SYTYCD IV. As you may know, he was my pick to win this year. (On a side note, I was just as aghast to see Supreme Soul on ABDC end up in the bottom two with Supah Cr3w the same week. I know you don't have cable, but, you might be able to YouTube or Hulu or head to MTV.Com to watch the replay, Rhianna!o) I like Mark as a fellow Hawai'i boy, but, his quirky style just doesn't make up for his lack of technical training. (As a bit of background, the same can be said for the fella who trained him that I danced with a long time ago in Third Wave Dance Theater! Sorry, Marcelo! I danced in a professional ballet company. You didn't!o) And, the same can also be said for Josh and Twitch. They're all very good at a particular genre and good at faking the rest. But, Will was very good at a lot of styles because of his strong technical training. He was also very charismatic and RIPPED! (Made me want to start working out more whenever he took his shirt off!o) I'd thot the final would be Will vs Twitch vs Chelsie vs Katee. (And, remember Twitch's over-reaction to being put in the bottom next to Will? He obviously thought, as did we all, that it was Sayonara to the Twitchster! How wrong were we all! It's like when that Cheetah Grrl was voted off DWTS!) Now, all bets are off because of the wild card that is the mostly non-dancing voting public. (Kudos btw to SYTYCD for their public service announcements for registering to vote. How ironic two Brits who can't vote in the US would be so active at urging Americans to exercise their civil rights!) I liked Chelsie a lot. She could move! She was exciting and electric. Her solos were her weakness as it almost always is with ballroom dancers. But, she more than made up for it because her partner work was so fantastic. She was also SO charismatic and her gams pneumatic! Hard to take your eyes off her whenever she was on stage! I think I've mentioned this before, but the solos aren't just a test of dancer skills, but, also choreographic skills. You might be a dynamite dancer, but, if you're deficient at choreographing your solo, you could pay the penalty at the polls. (That's what doomed Marquis early in the season) I think Katee's my sentimental favorite remaining dancer, but, her solos don't do her justice. I look for she and Twitch to battle it out for the title. My predix: Courtney, first to go. Josh, next. Twitch, last to go. Katee winner. Of course, the voting public will probably get this one wrong too!"
08.04.2008: Jawdropper!
Here's an etip from the Merry Lady de la Fair Lands (Watch out Shawn Johnson!o):
"...Also here's a link to a really amazing video, I don't know if you've seen it or not but you should take a look at it, make sure you watch the whole thing..."
08.01.2008: "Sunscreen Is Our Friend!"
This is for all the CCDC students showing up for class looking like they should be accessorized with a side of drawn butter, lobster bib and oyster crackers: (UNoWhoUR!o)
(Courtesy Newswise) — Melanoma, the most serious form of skin cancer, accounts for more than 75 percent of all skin cancer deaths. Despite repeated health warnings based on proven science that overexposure to ultraviolet (UV) light is the most preventable cause of all skin cancers, including melanoma, many Americans are not properly protecting themselves from this known carcinogen. Now, new understanding of the emerging field of genetic epidemiology of melanoma and the factors that influence teens’ use of indoor tanning could shed more light on ways to protect future generations from skin cancer.
Dermatologist Martin A. Weinstock led the presentation of key findings from research that could pave the way for future skin cancer prevention and treatment strategies.
“Everyone is born with genes that are inherited from their parents,” said Dr. Weinstock. “Sometimes the genes in certain skin cells become mutated,
deleted or amplified over time due to UV radiation and other factors, and these genetic changes in skin cells that take place could result in melanoma.”
“The better we understand the different types of melanoma, the more we can direct our therapies and prevention efforts,” said Dr. Weinstock. “Since these new therapies won’t be available anytime soon, it’s still important for people to protect their skin from UV radiation from the sun and tanning beds.”
Despite its link to both melanoma and squamous cell carcinoma, indoor tanning is big business. In fact, published reports indicate that the indoor tanning industry has an estimated revenue of $5 billion, a fivefold increase from 1992. The prevalence of indoor tanning among older U.S. teen girls is as high as 40 percent.
“Access to indoor tanning was found to be a significant contributing factor in teens use of these facilities,” said Dr. Weinstock. “The study found that having a higher density of facilities in one’s city and having at least one facility within two miles of one’s home were each significantly related to indoor tanning. In fact, the lead investigator pointed out that the mean number of tanning facilities per city exceeded the number of Starbucks locations, and 89 percent of the teens in the sample lived within three miles of a tanning facility.”
Dr. Weinstock also noted that the individual influences that were significantly associated with a higher likelihood of tanning included being female, older, or non-Hispanic white; having parents or friends who tan indoors; believing that tans are attractive; being exposed to ads; and having higher household incomes or weekly allowances.
“Teens appear to be a primary target of the indoor tanning industry, which resembles the tobacco industry in distorting science with the likely result of confusing the public about the facts,” said Dr. Weinstock. “We hope these findings will demonstrate the need for tighter regulations and enforcement of this unhealthy practice.”
In the interest of protecting public health, the American Academy of Dermatology Association (AADA) opposes indoor tanning and supports a ban on the production and sale of indoor tanning equipment for non-medical purposes. In the meantime, the AADA advocates for youth access laws until the Food and Drug Administration (FDA) takes action.
07.31.2008: Video Viewpoints
Still no sign of the Capital City Dance Center 2008 Spring Showcase DVDs in mailboxes yet!o( But, look what's just surfaced! More bootleg video of rehearsal of CCDC's La Bayadere...And More!: