Teaching Children the Value of Kindness

As parents, teachers, coaches and friends, adults have a huge responsibility in helping shape the minds and values of the children with whom we have regular contact.  I know that I learned a lot from the adults in my life. And I continue to learn as I deal with young dance students and family members. The best way that we can teach children to be more kind and giving is to show that to them on a consistent basis through our actions, as well as through the books, classes, religious stories and other situations to which we opt to expose them.

First and foremost, children learn through what we show them through our actions. How we treat others in a variety of settings influences how children perceive how they should act. Be aware of how you greet others, treat strangers such as waiters or hotel employees, interact with their teachers in front of them or react when a homeless person asks you for a dollar.

Each day, you will be in many situations in which you can provide a great example to children. To name a few everyday examples, how do you react when another driver cuts you off in traffic? Do you scream and say "idiot," or do you comment that that person may not be having a good day but could do a better job of respecting other drivers? When you see an elderly person at the grocery store who looks a bit out of sorts, do you ask them if you can help them find an item?

Do you make it a practice to do thoughtful things like baking cookies for a neighbor? Do you include your children in such activities? Do you focus on using a calm tone of voice when stern with others, or do you blow up in a critical tyrannical rant?

Again, the best way we can teach kindness and giving is through our actions, and that includes our choices of words and the tone that we use. As far as actions that help cultivate a spirit of giving, provide your children examples of this from an early age. If you see a Salvation Army collector outside of a store during Christmas, let your toddler put the five-dollar bill in the basket, and then explain to the child why you gave that money. Take your child with you to visit a sick neighbor and drop off homemade soup.

Once a child is old enough to better understand money and even earn an allowance, encourage the child to set aside a small amount of the money to help others. Help the child figure out ways to do that. It may be in the form of giving money at church, or collecting money to give to a charity. Whenever your child wants to make money through something like a lemonade stand, remind them that this is an excellent opportunity to give part of the funds away to others who are in need.

Teach empathy - The bedrock of kindness is empathy, the ability to put oneself in someone else’s shoes and feel compassion for their experience. Encourage kids to look beneath the surface with people. Why is that little boy so quiet? Is he shy? Afraid? Why might a friend seem sad? Is there something your child can do to help them feel better? Ask your child what helps him when he experiences similar feelings, and encourage him to try out different ways of being there for others.

Teach manners - Help your child understand that manners aren’t simply conventions; they are ways of showing respect for and honoring other people.  A rule, such as not interrupting others, is way of valuing what someone has to say. Saying thank you is a way of showing gratitude and acknowledging someone else’s effort. Be kind to your kids. Show your children that you love them, respect them and value their feelings. Practice good manners with them. Never berate your children or call them names.

Reinforce acts of kindness in children. - If your own child or a student brings you a bouquet of flowers or a gift, show your joy. If you see your son sharing his favorite game with a friend, acknowledge it. Encourage children to give cards when people are sick or to thank them for gifts.

Encourage children to be kind to the world at large - Reach out in your community in some way. Perhaps you can volunteer at a local soup kitchen, visit the sick or the elderly, or walk the dogs at the local animal shelter. Often, giving back to the world can be a family practic If you teach children, encourage community projects. You can even organize a dance recital to raise money for charity that is both fun and a learning ezperience.

Basically, gently find ways for children to start developing their own habits of giving, all the while reinforcing this with your own actions. Also, it's important to expose your children to books, religious lessons and classes, television shows and other situations that reinforce this message. Bring your children along for 5-K walks that support charity. Expose your children to television shows that teach good values.

Finally, find a way to reward your children for the positive choices they make and kind deeds that they do. Perhaps you can bake them cookies to celebrate an act of giving, or you can treat them to a new video game or activity. Don't of course overdo this and risk teaching them there is always a monetary or tangible reward directly related to giving.

Just as you teach them through your actions and words to be kind and give, remind them through how you live your life that giving in and of itself has its own rewards.  Practice what you teach.  Children are more likely to internalize what you do, than what you say to do.

From Myth to Stage: Ballet's Magical Characters

From Wilis to Sylphs, fairies to swan maidens, there are as many magical mystical creatures in ballet than in famous fairy tales. But if you’re having trouble figuring out what you’re playing, why he/she wears wings, and whether they’re alive or dead, don’t worry—you’re not alone.

Here’s a simple guide to the common creatures seen in ballet:

Wilis

”Giselle? Oh, that gives me the wilis!” This phrase, to “give someone the wilis” (pronounced “willies”) is relatively common, but few know the tragic tale of the wili maiden.

Originating in Eastern Europe in the late 18th century, wilis are reputed to be the spirits/ghosts of maidens who died tragically before their wedding day. Their ghostly forms rise from the grave at night, killing all men who dare to cross their path. At dawn, the wilis return to their graves, chased away by the rising sun.

In the ballet you can see two different kinds of wilis—the vengeful and the mournful. They are used in various productions, but perhaps most notably in Giselle where the wicked queen of the wilis, Myrtha, takes the lead, and the heroine becomes one of the sad spirits by the end of the performance.

Sylphs

La Sylphide and Les Sylphides are two of the most popular ballets from the Romantic Era. But what about sylphs is so special?

Originally cited in Rosicrucian alchemy literature, sylphs are defined in western culture as “airy spirits.” The elementals are as light as air, look slender and gossamer, and have the faintest and finest little fairy wings of any of the ethereal creatures.

In ballet, sylphs are typically otherworldly-looking fairies, donning floaty white costumes and tempting the lead men with their dainty steps and shimmering movements. They are elusive creatures and almost impossible to hold on to, as leading ballet dancers quickly find out.

Swan Maidens

The myth behind the transforming women in the Dying Swan solo in Carnival of Animals and the Swan Maidens in Swan Lake is both enchanting and mystical.

Springing out of the mythology of post-medieval Europe, swan maidens became a fixation of fairytales by the nineteenth century. In ballet, the most common story of the swan maiden is presented in Swan Lake, when a young princess wanders into the forest alone. Von Rothbart tricks her into coming closer, then imprisons her in the form of the beautiful bird. From that moment on, she can only become human during a full moon and spends the rest of her days in feathered fretting. Click to read  The Swan Maiden

In Swan Lake and other ballets, swans are usually portrayed as beautiful, shy, delicate creatures.

Fairies

Appearing in dozens of ballets, fairies are by no means an uncommon creature in the classics. They were dreamed up long ago in mythology as goddess-like creatures with magical powers and gossamer wings. Fairies are present in most magical kingdoms in ballet, blessing or cursing characters as they see fit.

One can see entire entourages of fairies in Sleeping Beauty, each one blessing the baby Princess Aurora with different gifts ranging from eloquence in speech to vitality to wisdom. Following the blessings, you can also see an evil fairy: the ominous looking Carabosse. She uses her powers for evil and places the notorious curse on baby Aurora.


Ghosts/Apparitions

Though many ballerinas that die in the first act turn to wilis or other mystical creatures, there are quite a few that simply remain on stage in ambiguous ghostly form. For example,La Bayadere’s Nikiya haunts her tormented lover by appearing through wisps of opium smoke. Her ghostly form takes shape at his wedding as well, dressed in white like a true ghost.

Ghosts and apparitions are seen commonly in other ballets too, such as Swan Lake.

Sorcerers/Witches

The image of the all powerful sorcerer or clairvoyant witch is another cliché in ballet. These malevolent beings pop-up in both comedies and tragedies, but their presence almost always marks the rise in conflict for some of the more pleasant characters.

Most sorcerers in ballets are evil and powerful, such as Swan Lake’s Von Rothbart, who lords over the imprisoned swans as they swirl around the lake. Witches are slightly sympathetic, as seen with La Sylphide’s Madge who doesn’t hurt the characters directly, but instead forecasts the downfall of the protagonist through his relentless pursuit of the sylph (much to the chagrin of his fiancée).

Creature Cautions

There are all sorts of magical beings in ballet. But fear not—while some are good and some are bad, there’s really no such thing as an enchanted creature that isn’t fun to dance. So whether you’re an evil witch or a frightened swan maiden, embrace the role and make some magic!

When Thinking Becomes Worrying: How to Tell the Difference

Tony Robbins suggests that thinking is just the process of asking questions of ourselves, then investigating any answers we may have, and then if the research does not support our conclusions, asking further questions until a satisfactory answer has been reached.

Thinking' going by its definition has mainly two objectives. 1. To generate ideas or find solutions to existing problems, and 2. to formulate the generated ideas or solutions into plans or strategies that can be implemented. Combining these two objectives, the essence of thinking is to birth new ideas or find solutions to existing problems and converting the ideas generated or solutions found into workable plans. This is the sole essence of thinking; anything short of these two is worrying. If after thinking you are unable to draw up a plan of action based on the ideas or solutions you generated, then you've just finished worrying' and have not been thinking.

THINKING vs WORRYING

"Worry is like rocking a chair it gives you something to do but won't take you anywhere." Unknown

Worrying  is "thinking" aimlessly; not having a definite purpose or objective in mind. It's focusing on a problem and all its negative attributes rather than focusing on possible solutions. When we worry, we keep going round a particular problem and never being able to arrive at any possible solution. We think of all the other things associated with a problem, except its solution.  Rather than looking beyond the problem to arrive at a possible solution, worrying' looks inside the problem so that it can come up with any suitable explanation. Worrying is a negative emotional state. Thinking is a rational process. One has a negative outcome, the other a positive outcome.

Worrying has never been known to solve a problem; rather it enlarges them. When you spend your time focusing on the negative side of an issue or problem, looking at things only from the unpleasant angle; then you are worrying and not thinking. If all you ever do is pointing accusing fingers or looking for explanations for your inactions and predicaments, then you are worrying.

Thinking leaves you motivated, inspired, eager and refreshed; worrying leaves you depressed, de-motivated, sorrowful, and angry with yourself. Thinking is searching for options and solutions; worrying is searching for excuses and explanations. Thinking liberates - it sets your passion loose, it ignites your creativity. Worrying depresses it shuts down all your creativity, weakens your passion and awakens all your negative emotions. You can never come out of worrying' and feel better than you went in; You will always feel worse than you were before you started worrying. This is because worrying is counter productive, it's a negative exercise. It can never produce anything fruitful.

Thinking is productive, it's an attempt to generate answers or solutions to problems and not an attempt to create more problems or find excuses for the existing ones. While thinking aims at finding a way out of a problem, worrying tries to find a way to justify the problem by putting the blame on something or someone else. Thinking is progressive; it leads forward and gives you a new direction. It focuses on lessons learned from mistakes made; it's ever ready to accept corrections. It's projective opens up new ways. Worrying is regressive; it always leads backward trying to justify your present condition or situation. It's starting with the things you cannot do or have limited resources to do. Worrying is refusing to change; doing the same thing over and over, but expecting a different result. It's thinking about the good old days'. Worrying focuses mainly on one's weaknesses, keeping records of all the things one is unable to get, the things you don't have. It's playing the blame game; "if only this , then . That".

Within every problem lies both a difficulty and a possibility; thinking is searching for the possibilities while worrying is searching for the difficulties. This is what clearly differentiates thinking from worrying; because the former produces a course of action (solution), while the later finds a reason for inaction (conclusion).

There are two ways to tell whether you've been thinking or worrying. First, by asking yourself this; "what exactly am I focusing on, the problem or a solution"? If your focus is totally on the problem; then you are worrying, but if your focus is on finding a possible solution; then you are thinking. For example, if a person's problem is that he doesn't have a job, thinking' would be to search for a possible solution "how can I get a job?" while worrying would be to try to justify the situation "why is it so hard to get a job?". The emphasis here is on result, what exactly do you want, a solution to the problem or an explanation for the problem. The second way to tell whether you've been thinking or worrying is by looking at your mood. If you've been thinking, you will feel very excited, uplifted and energized, you will have a strong urge to immediately implement the ideas or solutions you've been able to generate. And if you've been worrying on the other hand, then the opposite is the case. You'll feel weak, upset, downcast and self pity will immediately set in. Rather than generating ideas or solutions, you'd have succeeded in creating more issues to brood over.

I think that this quote by Dale Carnagie sums it up. "It isn't what you have, or who you are, or where you are, or what you are doing that makes you happy or unhappy. It is what you think about." Make sure that you think productive thoughts to enrich your life instead of worrying about it.

The World of Ballet Competitions

At right - Finalists at the 2010 Genee Ballet Competiion


Ballet does not include a great deal of competition. However, there are about nine major competitive events in which ballet dancers may compete. Over the next few months,young dancers will decide if a competition is right for her/him and apply. The prize in these events is a combination of cash, prestige, and—for the top dancers—a contract with a major ballet company. However, there is the cost of travel and the nature of the dancer him/herself as to whether he/she would feel comfortable participating. Competitions are geared toward either pre-professional or professional ballet dancers. Here' some info and what to expect. Click on titles to visit their websites.

Youth America Grand Prix

Eligibility and Age Requirements

The Youth America Grand Prix, which has begun its regional competition in Tampa, Florida, Jan 3-6, is open to ballet dancers from all countries, ages 9-19 (based on your age as of January of the year of the competition). Dancers age 9-11 are placed in the Pre-Competitive Division, ages 12-14 in the Junior Division, and ages 15-19 in the Senior Division.

Dancers in the Junior and Senior divisions may participate in the Classical Variation competition, Contemporary Solo competition, or both, while Pre-Competitive dancers may compete with either a skill-appropriate classical choreography variation and/or Contemporary Solos. Junior and Senior Division dancers competing in the Classical Variation category must dance a variation from the official repertoire list. Dancers may enter as a soloist, part of an ensemble, half of a duet, or all of the above.

The competition is not open to any professional dancers, defined as a dancer working full time with a professional company or under contract at least 26 weeks a year, or a dancer who has done so in the past. Dancers must be selected from either regional semi-finals or a video audition in order to be eligible for the finals in New York City.

Some info about the current regional competition in Tampa Click here

Judging and Awards

Dancers are scored by judges on a 100-point scale for both artistic and technical abilities. The average of the two scores is taken for each judge. In order to qualify for the New York City finals, a dancer or ensembles must have received a score of 95 or higher on their Classical Ballet Variation. Judges may use their discretion to invite additional dancers and ensembles to the finals.

At the finals, judges will award a Grand Prix and Youth Grand Prix to the dancer considered to have exceeded all other dancers competing in the Senior and Junior divisions, respectively. The Hope Award is given to the dancer best exceeding standards in the Pre-Competitive Division. Awards are only given when judges consider them earned, and judges additionally reserve the right to not award all prizes in a given year.

New York International Ballet Competition

Eligibility and Age Requirements

The New York International Ballet Competition is open to both professional and non-professional dancers of all nationalities. Women must be between 17-23 years of age and men must be between 18-24 years of age at the time of competition. Applicants are selected to compete based on written applications, videos, and photographs.

All dancers must apply with a partner who is also competing. Dancers selected will perform and compete exclusively with that partner.

Judging and Awards

At the beginning of the competition, NY IBC coaches will teach three classical pas de deux to paired participants, but who will then be judged individually. Each dancer must also prepare two professionally choreographed solos, no longer than two and a half minutes. They can be of either classical or contemporary influence.

The NYIBC will make selections in three stages, eliminating dancers until the third and final round of competition. If a dancer’s partner is still eligible to compete, they must stay and continue to dance with them. Eliminated dancers may stay to watch the rest of the competition.

At the end of the competition, the men and women who have performed thebest according to the judges will be awarded one of five awards: The Gussie and Samuel Arbuse Gold Medal, Silver Medal, Bronze Medal, or Lefkowitz Award. Two special awards also given at the discretion of the judges: The Igor Youskevitch Award (a one-year contract with the American Ballet Theatre) and the Arpino Award (a one-year contract with the Joffrey Ballet).

Judges’ decisions are final and may not be appealed.

International Ballet Competition - Varna

Eligibility and Age Requirements

The International Ballet Competition at Varna (known more frequently simply as “Varna”, the host city in Bulgaria) is open to dancers of all nationalities and genders, aged 15-26 at the time of competition. Dancers age 15-19 are in the Junior Division; dancers age 19-26 in the Senior Division. Dancers may compete as a couple or solo. Couples may be from different age groups.

Judging and Awards

The competition is held in three rounds. The first round consists of only classical choreography. Competitors selected to move on to the second round will perform both classical and contemporary choreography, and those moving to the third and final round will again perform both classical and contemporary pieces.

Judges score on a 25.00 scale. Competitors with the highest score in the first round will move on to the second round, but must have a score of no less than 18.00 points. Competitors with the highest scores in the second round will move on to the final round, but must have a score no lower than 19.00 points. Couples must perform complete pas de deux for the classical portion, containing an adagio, variations, and coda. The conventional versions of classical choreography must be presented in all rounds.

Following the third round, prizes will be awarded at the judges’ discretion. These prizes include the title of the International Ballet Competition at Varna Laureate, the Varna Grande Prix, and first, second, and third prize each in women, men, girls, and boys categories, respectively. Additional awards may be presented on the basis of choreography and/or other outstanding achievements.

Prix de Lausanne

Eligibility and Age Requirements

Held annually in Switzerland, the Prix de Lausanne is open to all non-professional dancers aged 15-18. Dancers can apply with an audition DVD containing 15-20 minutes of barre and center work in a studio environment. Dancers—usually 110-130 in total—are then selected to compete based on their film.

Judging and Awards

To pass the second selection phase, the chosen dancers must perform ballet and modern classes on stage. Dancers then proceed to a final round that includes both classical and contemporary variation and a free variation of their choice.

Throughout the competition, participants are judged by a jury based on overall potential, an evaluation of their artistry, physical suitability, courage and individuality, musicality, movement dynamics, and overall technical facility and coordination.

At the end of the final round, up to six dancers are selected as Prix de Lausanne winners and given the Prix de Lausanne Scholarship, Prix de Lausanne Apprentice Scholarship, Contemporary Dance Prize, and Best Swiss Candidate Prize. Consolation prizes of cash, diplomas, medals, and free summer courses are awarded to all finalists.

World Ballet Competition

Eligibility and Age Requirements

The WBC is held annually in Orlando, Florida, and is open to competitors of all levels (introductory to professional) aged 10-22. Dancer(s) must apply by sending a video audition prior to acceptance in the WBC.

Following acceptance, dancers are divided into four age categories: Introductory (age 10-11), Preparatory (age 12-13), Pre-Professional (age 14-17) and Professional (age 18-22). Additionally, Pas de Deux and Ensembles are separated into their own categories.

Judging and Awards

Judging is based on technical and artistic merit (scored separately), with the highest and lowest scores dropped and the remaining five averaged for a final score. Introductory, Pas de Deux, and Ensemble competitors are subject to only one elimination round, in which the highest scoring competitors move to the finals. Preparatory competitors have two elimination rounds, while Pre-Professional and Professional competitors go through three.

Following the final round, prizes are awarded in all competition categories to the dancers with the highest scores. Additionally, a choreography award is given to the choreographer who has presented the best original contemporary piece, as deemed by the jury.

USA International Ballet Competition (Jackson, Mississippi)

Eligibility and Age Requirements

The USA IBC is held annually in Jackson, Mississippi, and open to all dancers age 15-26. Applicants must apply through a written application and an audition DVD containing two variations for solo competitors and one pas de deux for coupled competitors.

Judging and Awards

The competition is divided into three rounds:

The first round requires two solo classical variations for individuals or one classical pas de deux for couples, all of which must be selected from the classical repertoire list. Competitors receiving high scores move on to the second, semi-final round where they must perform either one contemporary solo or duet. From there, the highest scoring dancers move to the third and final round to perform two classical variations and one contemporary variation. Couples must perform one classical pas de deux and one contemporary duet.

Following the third round of competition, the highest scoring dancers are awarded prizes based on their performance: Gold, silver, and bronze are awarded separately to the best men, women, and couples in the Senior Division and Junior Division, respectively. Awards are also given for choreography and various other merits.

Genee Ballet Competition

Eligibility and Age Requirements

Held annually, the Genee Ballet Competition is for pre-professional dancers between ages of 15-19 who are members of the Royal Academy of Dance. Dancers must have also passed the RAD Advanced 2 Examination in Classical Ballet with Distinction or have been awarded the RAD Solo Seal.

Judging and Awards

The competition consists of a semi-final and final round during which dancers must perform classical variations. Those dancers exhibiting exceptional skill in the final round are awarded first, second, and third prize at the awards ceremony. Additionally, awards are given based on other merits such as Theatricality (artistry) and Audience Choice.

Arabesque Competition

Eligibility and Age Requirements

The Arabesque Competition is held every two years in Perm, Russia. It’s open to all dancers age 14-26. Applicants must first send in an application form, a black and white photograph, a ballet photograph, a resumé, and a certificate of dance education and/or private dance classes.

Judging and Awards

Following acceptance, competitors are divided into soloist (male and female) and couples categories.

The competition is held in three rounds. Round one requires individuals to perform two variations and couples to perform one pas de deux. The highest scoring dancers move on to the second round, where individuals must perform two classical variations and a modern piece, while couples perform one pas de deux and one contemporary duet. The highest scoring dancers move to the finals. Soloists will then complete two classical variations; couples perform one classical pas de deux.

The highest scoring dancers as judged by a jury receive awards: The Sergei Diaghilev Award (Grand Prix), first prize (one for men, one for women), second prize (one for men, one for women), third prizes (one for men, one for women), and a variety of other awards based on various artistic and technical merits.

Moscow International Ballet Competition

Eligibility and Age Requirements

The Moscow IBC is open to all dancers age 26 and younger. Applicants must submit a resumé, application, three photographs, a proposed program for the three rounds of competition, and an audition video containing one of the proposed variations or pas de deux.

Dancers are divided into two divisions based on age: Junior Division (age 18 and younger) and Senior Division (age 18-26).

Judging and Awards

The competition consists of three rounds, with the highest scoring dancers (as deemed by the jury) moving on to the final round. Dancers are judged on an individual basis, regardless of whether they’re completing as an individual or a couple.

Following the third and final round of competition, dancers demonstrating extraordinary ability (as deemed by the judges) are awarded first, second, and third place prizes based on their gender and competition division. Additional prizes based on merit are presented as well.

Breaking the Cycle of Always Repeating the Same Mistakes

"Those who do not learn from the past are doomed to repeat it." - George Santayana


Many people know the definition of insanity (doing the same thing over and over again, and expecting a different result) and in spite of this knowledge, they continue the same behavior and choices date while expecting a different result.

Though we would all like to believe that we are not destined to repeat mistakes over and over again, chances are, without a knowledge of what it is that compels us to behave in certain ways in the first place, we will likely repeat patterns of behavior that bring about negative or undesirable consequences over and over again.

All decisions and subsequent behavior are born from an individual's deeply held belief system. Without an understanding of how much this belief system truly guides and directs our life, we are often rendered powerless to stop the cycles of self-defeating behavior.

Modern psychology and psychiatry has identified different levels of consciousness within our brains. The part of consciousness that we call our awareness is the part of the mind that carries out the normal, day to day type activities. Thoughts flow freely through our minds and are usually nothing more than shallow chatter about things we need to do today, or tomorrow, or basically focusing on a task at hand. This type of thinking is not deep or reflective, but rather simply functional.

On a deeper, subconscious level, however, an entirely different type of thinking occurs. These thoughts are the thoughts that we may be vaguely aware of, but generally do not pay close attention to. These thoughts, which compose our deeply rooted belief system, are the very thoughts that truly direct and guide our behavior. They act as the rudders of our life, if you will, steering and directing us toward a predictable behavior, guided by a deeply held belief.

It is these thoughts and beliefs which shape and define who we really are. They are also the foundation upon which the reality of our life is built by the decisions we make and the subsequent actions that we take.
For example, if one subconsciously believes they are not worthy of a healthy, loving relationship with someone, they will likely find themselves in relationships that are toxic and self destructive with the pattern repeating itself over and over again.

Though outwardly they confess they are not deliberately seeking out those types of relationships, the deeply held belief that they do not deserve to be loved will continue to draw, much like a magnet to an opposite pole, the opposite desired outcome; namely, another failed attempt at love.

 Sometimes we lock ourselves in a certain pattern because we subconsiously benefit from it.  We get to be the victim? Acting a certain way  gets sympathy or attention.   In the book  "Games People Play", by Eric Berne,  Berne states that we often follow scripts, like parts in a story or a play. If we have unconsciously chosen to be the victim or the martyr, the villain, or the rescuer we may find ourselves in unwanted situations over and over again.

We often speak of the power of the human will as a driving force that can overcome and accomplish anything. Though the will to achieve, succeed and overcome is indeed powerful, sheer will alone is not enough to transcend self defeating habit patterns rooted in the subconscious mind.

Do you know your relationship pattern? Do you know what the mistakes you have made have in common? It won’t be obvious, but if you take some time you will be able to see a pattern and if you don’t like this pattern, you can change it. When a person is willing to learn from their mistakes by accepting responsibility for their patterns, they then have the ability to change those patterns which in turn produces wonderful results.

Don’t give up. If you truly desire to change, to transcend and to overcome behavior that repeats mistakes in your life, then the real work needs to be in identifying those beliefs and roles and willfully and deliberately changing them. It might take some time and some soul-searching, but once you can see a pattern, you can break the cycle. Then your past mistakes will finally stay in the past, leaving you with a fresh present and future.

Stage Presence: What it is and How to Improve it

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Can stage presence be taught? Some people say no. Some argue that it comes from self-confidence and from years of experience. I'm a great believer in the "as-if" theory. If you act as-if something is so, eventually you will believe it, and in turn, what was only as-if, is now so. Watch any dancer with superb technique who keeps her shoulders hunched or looks at the floor. She pales in comparison to dancers who shine, stand upright, and exude confidence, even though their technique may not be as exacting.

If you are a dancer or figure skater and find yourself on stage unsure of how to make the audience feel your energy, try these tips on improving your stage presence — regardless of the role you’re dancing.

Use Your Eyes

The most important part of your face is your eyes, especially from the stage. It may seem obvious, but make sure that they’re open and active when you’re on stage. Don’t just let them wander here and there, unfocused because your mind is on the choreography. Start using them in rehearsal, focusing your gaze with deliberation rather than apathy. When your gaze has direction, your entire face has direction. This will give your dancing a sense of intent and conviction.

Not having constant eye contact, especially if on a raised stage, is an important element to stage presence. A performer has to look out over her audience. If you are on a raised stage, and you constantly make eye contact with your audience, where does that lead you? It leads to a stooped posture and a head down position. It is a little less pronounced when you are on a dance floor level to the audience, but don't forget the audience is seated, so that you still are glancing downward. Every once in a while you should make here-and-there eye contact, but make it a habit to look out beyond and up. If you just skim the heads of the audience, for the most part, you will give the impression you are making full eye contact.

Another way not having constant eye contact helps a dancer's stage presence is that it keeps her less engaged in her audience and more engaged in her dancing. Often a dancer will make eye contact with a friend, or a particularly attentive smiling audience member. Once the dancer engages that person, it becomes likely that she becomes drawn in to the person and starts ignoring the rest of the audience, thereby actually defeating the purpose of eye contact. A better way to handle this is to smile broadly at the attentive person and move on. Even if a portion of the dance is being directed at the one person (for instance, if the audience member is celebrating a birthday or anniversary) the dancer should look up and smile at everyone, and give a wink or two. The more a dancer is drawn in to one person via sustained eye contact, the less focused she will be on her dancing and the music, and the less energy she will give out to the crowd.

Speaking of energy: If you want to think of the audience as giving off energy, think of that collective energy as floating up away from the people into the air. A dancer's energetic field floats around her and above her. The magic of stage presence is how to get the dancer's energy out into the audience, and how to engage the energy of the audience. By looking out OVER the audience, rather than directly at the audience, your energetic field will float over and out above the audience to mingle with the energy of the audience. That is how to get a dynamic exciting experience going between the audience and the performer.

Epaulment

Épaulment means “shouldering,” and is the tilt of the upper body to create interesting angles in ballet. It is the center of all the beautiful faces and expressive framing you see. Squeeze every body-facing for all that it’s worth, as utilizing the proper positions will give dimension to the choreography.

If you’re wondering just what an impact épaulment has on a ballet’s character, try imagining Swan Lake danced entirely en face, with every dancer facing dead ahead at every point in time. Seem boring? That’s because the shouldering used by even the most minor characters allows the scene to feel more realistic and natural. A dead set, face-forward angle often seems unnatural and awkward.

Dance Big

Remember that your average stage is two to three times larger than your average studio. You may be used to only dancing across a twelve foot room, but the stage is enormous, and it’s your job to fill it to the brim. Make the absolute most of every step and transition. Let your movement to take up as much of the stage as possible. Exaggerate your movements, making them visible to even the last person sitting in the back row of the balcony section. Dance for that person and that person alone. The further away you project, the bigger your presence, and the more everyone will notice you.

Highlight Your Best Facial Features

Play up features that make you look like yourself. If you have especially lovely lips, don’t be afraid to play them up and make them bright and beautiful. By emphasizing your features, you draw attention to your face. Then when you emote, you can portray the entire range of emotions.

Use a Mirror

Watch yourself as you perform. What looks right to you? What could be worked on to look better? The mirror is your friend, not your enemy. If you can view yourself with confidence, that confidence will transfer to an audience. And if you're still nervous, remind yourself that you don't have to be calm to appear calm. I think of the various television and movie personalities, who get so nervous and worked up before a performance that they literally feel sick. You've probably heard stories of actors and actresses who absolutely glow on stage, but privately suffer from extreme shyness or nervousness - they're true, one of the most notable being Barbra Streisand. If they can make it, so can you.


Video of Margot Fonteyn. When you look at her, notice how expressive her eyes and face are, smiling at her 4 suitors in the Rose Adagio from Sleeping Beauty as she portrays a young, happy girl.

Different Styles of Yoga: Which One is Right for You?

Interested in starting yoga? You may be wondering which type of yoga is best for you or how you can obtain the most benefits from yoga. The style of yoga that suits you will depend on a few factors: your personality type, the instructor and class location.

People practice yoga to increase flexibility or strength, to improve posture, or to assist in injury recovery. For others, yoga is a complementary practice to sporting endeavours. Still more people are gravitating towards yoga to escape the frantic pace of life – to relax and re-focus.

With many different styles of yoga, and people seeking many different things from their yoga practice, it can be difficult to know where to begin. And it doesn’t help that the names of yoga styles are often Sanskrit, the language of the yoga tradition.
Here is a very brief outline of just a few of the styles of yoga available today.

Hatha Yoga

Pronounced ‘hah-ta’ and directly translated as ‘sun-moon’, hatha yoga aims to bring balance to the body. Hatha yoga refers to any style of yoga that combines physical postures, breathing exercises (pranayama) and often meditation.
Generally classes that are described as ‘Hatha yoga’ are comparatively gentle. They will assist you in developing flexibility and strength gradually, and will encourage a sense of relaxation.
The four styles of yoga listed below fall into the broad category of hatha yoga, but can be more physically demanding than traditional hatha classes.

Iyengar Yoga

Pioneered by BKS Iyengar (known by his students as ‘Guruji’), ‘Iyengar yoga’ focuses primarily on physical postures (asanas).
Iyengar yoga is differentiated by the extremely close attention paid to alignment, and by the use of props, which have been instrumental in making yoga accessible to stiffer Western bodies. As the official Iyengar yoga website states, “the use of props, designed by Guruji, such as wooden gadgets, belts, ropes helps the practitioner to achieve perfection in any asana.”Iyengar yoga can be physically demanding, but the slower pace and long holds of the asanas mean that it is suitable for all students. Modifications and variations can be offered to students with specific needs such as injuries.

Ashtanga Yoga

Ashtanga Yoga was established by Sri K Pattabhi Jois. It is a dynamic, faster-paced style of yoga best suited to people who have a reasonable level of fitness, or who are hoping to increase their fitness. Be prepared to sweat!
Ashtanga yoga is divided into six set series of postures, and students are strongly encouraged to master each series before moving on to the following series. The degree of difficulty even in the Primary (or beginner) series means that only quite committed students move beyond this sequence.
Traditionally, Ashtanga is practiced ‘Mysore style’ (Mysore being Pattabhi Jois’ home city) meaning that students move through the sequence at their own pace, and teachers move around the room to assist wherever necessary. This requires the students to be familiar with the sequence.
Most Ashtanga studios also offer ‘led’ classes, in which the teacher talks students through the sequence.

Vinyasa Yoga (Flow Yoga)

Vinyasa is a graceful, flowing style of yoga in which movement from one asana to the next follows the breath. It can vary in intensity; some Vinyasa classes are fast-paced and sweaty, others are little more down-tempo.
Not connected to a single lineage, vinyasa teachers draw from different styles to create their own fluid sequences that will change from class to class.
Smooth, steady movement during the transitions between asanas is as important as alignment in each asana. If you enjoy a practice that’s a little unpredictable and you like to move, Vinyasa is probably right for you.


Bikram Yoga (Hot Yoga)
Bikram Yoga, founded by Bikram Choudhury, consists of a set sequence of 26 asanas that are practiced in each class. Classes begin and end with breathing exercises.
The most distinctive feature of Bikram yoga is the heat: Bikram studios are heated to around 105 degrees farenheit. Take a towel and a bottle of water, and dress for the heat.

Other Styles of Yoga

Styles of yoga that have focuses other than the physical include Raja Yoga (primarily concerned with meditation), Karma Yoga (the yoga of action, or selfless service), and Bhakti Yoga (the yoga of devotion)

Yoga Class Locatios

The next question is where to practice yoga – at the yoga studio, a gym or a community centre. Usually the location of the class will dictate how often you attend so the more convenient it is for you, the better. You may not find a perfectly suitable class or instructor right away, but be persistent. After sampling a few different types of yoga, you will know what location works for you and which type of instruction helps you learn best.

Yoga Instructors

Great instructors teach in all different locations; however, as a general rule, the most experienced instructors will teach at a yoga studio or even have their own studio. Wherever you attend class, be sure to ask about the instructor’s training and background. In some areas group fitness instructors are given a certificate to teach yoga after taking only one weekend workshop, but in India, for example,
where yoga originated, teacher training can take years. It’s worth it to shop around for an instructor who is well trained and to whom you can relate. 

Yoga Class and Personal Practice

Whichever style and at whatever location you choose to practice yoga, the benefits you experience are directly related to the frequency of practice. In the beginning you may find it difficult to find time to add in a yoga practice to your day but after awhile you will find that you look forward to it. A few minutes every day or every other day is preferable to just one long session per week. Practicing on your own also allows you to set your own pace, repeat postures and practice exactly what your body needs that day. Just as a musician who practices her instrument every day becomes proficient, so you too will become proficient at playing the instrument of your body with your breath the more you practice. If you need the group energy or to go with a friend for motivation, then honor that and just do what you can. Be mindful for the time you are practicing without wishing it was longer/shorter/harder/easier and let it be good enough.

Trying Different Yoga Styles

Each type of yoga has its advantages and you may find that after some time with one type you want to experiment with others. This is natural and you can learn a lot this way. Once you have found the style that suits your particular needs, it is best to work with one teacher and stay focused.

Harder than it Seems: Being a Good Corps Dancer

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From swans to peasant girls, fairies of the entourage to wispy opium shades, the characters played by a corps de ballet are as versatile and vibrant as the principle roles. But it’s not always easy standing in preparatory position for half an hour as the grand pas de deux is performed.
If you’re having trouble coping with being in the corps, here are some ideas for how to be a model member—no matter what role you end up getting.

Work Well With Others

You may want to be dancing the lead role yourself, but chances are that the girl dancing next to you does, too. So instead of resenting your fellow corps members and wishing you were somewhere else, get to know all the other swans. Work together to form a cohesive whole as opposed to just dancing for yourself.
A good corps dances seamlessly in unison; a bad corps is one in which every dancer is out for themselves, kicking their arabesque to 120 degrees regardless of the height and ability of all the other dancers.

Know the Choreography

Choreography for the corps may not be as fancy, but it tends to be much longer and dependent on formations. As such, it’s absolutely vital that you know the routine from front to back; all it takes is one corps member stepping on the wrong foot to throw off the entire corps and create havoc on stage.
Learn and enjoy the choreography for what it is rather than what you wish it would be. Use each step as an opportunity to fall in love with ballet all over again. If every member of the corps knows the choreography, you’ll be able to dance it together in unison, creating a beautiful and magical scene that the audience will appreciate on its own, rather than as a part of the principal’s solo.

Make A Map - Corps work can be complicated and confusing, so take the initiative to write down the choreography, drawing diagrams of the formations you’ll make on stage. You will be better prepared and an asset to the other dancers, who may need help knowing where they need to go. This makes you both a great dancer and a great corps member!

Help Out Other Dancers

If one member of the corps keeps crashing into you, or you notice another doing pas de bourrés on the wrong foot, don’t get annoyed and yell at her. Instead, give her advice on the right way to do things in a kind, helpful, and constructive way.
Rather than saying, “Quit crashing into me after the arabesques—what is wrong with you!?” opt for a gentler, more constructive approach: Tell the dancer that the spacing is a little off, and if she could just adjust a little bit the other way, you can avoid colliding.
Helping other dancers will not only make you both feel better, but make the entire dance run more smoothly.

Project from Your Pose

There’s no such thing as a corps de ballet that does not, at some point during the performance, stand frozen for an extended period of time. Don’t let this opportunity go to waste! Just because you aren’t doing grande jetés across the stage doesn’t mean you aren’t still in character.
The next time you’re maintaining a pose in the corps, try and make it as perfect as possible—both technically and artistically.

• Do research: Use pictures and video to study how the pose should look.
• Stay lifted: Pull up as much as you can, always feeling that your head is stretching up toward the ceiling.
• Remember your turnout: Crank your turnout to the max and keep feet pointed, no matter how long you’re standing there. Audience members and teachers alike will notice when one corps member is sickling her foot or standing on a turned-in leg.
• Maintain an active gaze: Don’t just let your eyes lose focus and drift into deep space.
• Stay in character at all times: Use your face to project emotion; Look out into the balcony and really be the character you’re supposed to be: If you’re a swan, don’t smile wide, and if you’re a bridesmaid, don’t frown like you’ve just been broken up with.

Extended poses are not an opportunity to rest and relax. Use the time to catch your breath for your next phase, but resist the urge to show any signs of fatigue. One of the most beautiful and impressive parts of ballet is the ability of the dancers to make the impossible look easy. If you start thinking about how tired you are, you’ll break the illusion—a huge faux pas!

Love What You Do

Being in the corps is an often under-appreciated art form. It requires as much dancing as lead roles, expert synchronization, and the stamina of a marathon runner. If you’ve been picked to perform a corps role, give yourself a pat on the back—it’s the toughest role to dance in all of ballet. Study your character, memorize your choreography, and love what you dance.

To read more about what goes through corps dancers' minds during a performance, head over to @bexking's blog post Questions with Bart

How Performing Arts Benefit Children

As any successful performing arts teacher or administrator would tell you, any good music, drama or dance program should not be about churning out little show ponies and pint-sized divas. Performing arts is a profound and important part of any child’s education, and the skills learned and experience gained in taking drama classes, having singing lessons and/or joining a dance school or glee club will affect and improve many of your child’s abilities in many areas of their life.

Research recently conducted by the University of Maryland (2007) focused on the linkage between children's participation in activities such as dancing, acting or music lessons and the positive outcomes in schools and a child’s emotional development and behavior.

The research shows participation in performing arts is linked to positive outcomes in school, emotional development, family life and behavior. They also play a central role in cognitive, motor, language and social emotional development.

 Let’s look at how dancing can help your child to grow. A child’s self-esteem is enhanced with dancing. In a classroom setting, children are placed by age and skill level. Accomplishing the different positions of ballet or steps and routines in Tap create a sense of self-worth for the child. Being able to create moves with the music is a very satisfying event for a young dancer. And dancing is not just for girls. Boys are becoming more active in dancing, just look at all the boy bands and the synchronized dance moves they perform.

In addition to self-esteem, dance can reinforce a sense of pride. A child who wears glasses, has braces, is “pudgy” or maybe a little clumsy will find a renewal in their pride when dancing. When you are on stage or dancing by yourself, you are in a different world. It may not happen overnight, but it does happen.

Grace and poise are two physical benefits of dance, in addition to providing an intense and fun form of exercise.

A child in dance learns different positions and steps, which utilize all parts of their bodies. They are educated on proper posture, head and body alignment and moving with their entire body to create a flow of movement. Dance techniques have been used to train professional athletes including football and basketball players to help them develop faster moves on the playing field and allow them to move without injuring their bodies.

Acting and drama lessons improve intelligence and communication levels. Working with scripts helps improve reading and general knowledge skills and doing tasks such as improvisation develop imagination and self expression. 

Exposure to singing and music allows children to easily access emotions as songs hold different feelings and can quickly change. The quick mood changes in songs help children to realize emotions are not something to be scared of and change naturally.  Learning  music assists with primary mental abilities (verbal, perceptual, numeric, spatial) and motor-skills. Different styles of music introduce children to cultures across the world and make them more accepting of different races to their own.


Kids who attend performing arts schools or have access to performing art classes in their regular school curriculum are:

• Developing creativity. Imaginative play stimulates and challenges the brain, and allows kids to be innovative and broad-minded
• Developing confidence. Strategies to help you get up in front of an audience and present an idea are extraordinarily valuable and very little appreciated in many areas of adult life, personally and professionally. Learning how as a child is a wonderful asset to have.
• Promoting self-discipline and self-motivation. Because all performing arts are physical and individual like doing sports or athletics, achievements are also gained from including practice at home and scheduling personal training,
• Exposed to art and culture. The impact of a sophisticated cultural and artistic education is life-long, and adds enjoyment, depth and meaning to both personal lives and professional work as adults. Not everyone is lucky enough to have the opportunity.
• Overcoming anxieties. The triumph of going out of stage, performing a rehearsed piece successfully, and receiving feedback afterwards is one of the profound and tangible reassurances of worth and achievement you will ever get. It gives kids a sense of control and power equivalent to winning scholastic prizes or sports championships, and will encourage aiming higher, overcoming more obstacles and achieving greater goals in future endeavours.
• Learning memorizing skills. Working on your ability to absorb and retain information is something many successful entrepreneurs recommend for the success of professional adults, and is important and fun to develop through performing arts.
• Improving language and musical skills. Like an exposure to culture and art, developing language and musical skills offer a significant advantage for any student, and make for a richer, more liberal-minded adulthood.
• Problem-solving. Dealing with unexpected situations and working through to viable solutions is a wonderful and perhaps surprising skill gained from performing arts classes, where creative challenges are set, self-generated work is encouraged, or problems encountered on stage are overcome if things go wrong or are forgotten.
• Social interaction and cooperation. Performing arts classes promote working as a team while also encouraging and developing individual talent: the best possible combination.

As with any extra-curricular activities or high-performance education route for kids, there are of course also possible pitfalls for students and parents, but overall, the benefits of being exposed to performing arts will benefit a student not only academically, but in dealing with life.

Nutrition for a Dancer's Body and Mind

Dancing is great for your body. But like all elite athletes, dancers need to look after their bodies in order to perform at their best and to avoid injury. Eating well isn't always easy - pressure to be thin causes many young dancers to deprive their bodies of essential nutrients. How to eat properly? Here are some tips:

BASIC FOOD GROUPS

Here are the basic food groups you should include in your diet:

• Carbohydrates such as breads, grains, and cereals.
• Proteins such as fish, eggs, and poultry.
• Good fats like nuts, avocados, and olive oil.
• Fruits like raspberries, melons, and bananas.
• Vegetables such as carrots, spinach, and broccoli.
• Milk products such as yogurt, cheese, and reduced fat milk.

Together, these food groups comprise a balanced diet. Crash diets that cut out one or more of these groups, like carbohydrates or fats, will cause a dangerous imbalance. Likewise, any diet that goes too heavy on one food group can lead to health problems like high cholesterol, thyroid gland malfunctions, and water retention.

CARBOHYDRATES

Possibly the most important food group for any athlete, carbohydrates provide energy when your body needs it. Known as “fast burning” fuel, carbs are broken down in your body quickly, which allows your body to more readily use the metabolized energy. That means that if you’re feeling weak or tired, munching on a serving of carbs can make you feel refreshed and refueled within the hour.
To simplify, carbs are good because:

• They provide quick burning energy
• They fill you up
• They don’t feel heavy in your body
• They are often low in fat

The best source of fuel is whole grains or another type of complex carbohydrates. Whole grains are in their most natural form, which means that they’ll be easier for your body to break down. They also provide longer, more sustained energy since they don’t cause a spike (and subsequent crash) in your insulin and blood sugar levels.
Here are some good carbs to munch on:

• Brown rice
• Whole wheat bread
• Quinoa
• Whole wheat pasta

Proteins

Proteins, like carbs, fuel your body. However, the key difference is that while carbohydrates break down to give you quick energy, proteins are broken down much more slowly, and help both build new tissue (muscle and bone) and provide long-term, stored energy. This means that if you’re fatigued, eating a serving of proteins won’t do you any good within the hour; the proteins take longer to break down in your system, so the benefits will be gradual and delayed.
Simply put, proteins:

• Provide long term energy
• Help build strong bones and muscle
• Make you feel full, longer

It’s good to consume these foods in smaller amounts, spaced-out throughout the day. This way you’ll have a constant supply of long burning energy without feeling weighed down by proteins in your stomach.
Some great proteins to choose from are:

• Fish
• Peanut Butter
• Eggs
• Lean cut meats & poultry

Good Fats & Oils

Most dancers hate any mention of the word “fat,” but there are, actually, good fats in existence, and your body needs them to function properly.

You should always try and limit the amount of fat and sugar you consume (particularly refined fats and sugars like French fries and candy bars), but a splash of healthy fat each day can lower your risk of heart disease and help transfer nutrients throughout your body.
Healthy fats include any kind of monounsaturated fat which is easier for your body to breakdown and store in a more beneficial way than saturated fats. Once processed, healthy fats become the body’s most abundant form of stored energy, used when other resources—carbohydrates and proteins, for example—have been depleted.
Monounsaturated fats and oils:

• Aid in digestion
• Keep skin healthy
• Prevent the storage of unhealthy, saturated fats
• Provides small amounts of energy towards the end of a long workout
• Contain vital fatty acids (which support everything from mental clarity to clear skin!)

Having one or two small servings of healthy fat per day will keep your body running smoothly without the weight and fatigue of processed sugars and poly saturated fats.
Healthy fats and oils include:

• Olive oil
• Avocados
• Nuts
• Some fish (herring or sardines)

Fruits

Despite their reputation as summer foods, fruits are available all year round, and should always be a part of your daily diet. While not a central source of energy (the simple sugars burn off too quickly), fruits do contain unique vitamins and minerals that your body needs to function.
In short, fruits:

• Provide essential vitamins and minerals that benefit specific areas of the body.
• Contain many different antioxidants that help the body recover from stress.
• Supply fructose and simple sugars the body can break down for quick bursts of energy.
• Have large amounts of fiber, which help regulate the digestive system.

Fruits are great to snack on throughout the day, even though they aren’t as filling as complex carbs or proteins. In general, fresh fruits are best. Avoid eating canned fruits or fruit “drinks,” as these contain high levels of processed sugars instead of actual fruit. If you must opt for a juice, go only for 100% fruit juice; these retain the essential nutrients of the fruit, but without the added sugars and fillers contained in most cocktails and blends.
Some good fruits to include in your diet are:

• Blueberries
• Apples
• Tomatoes
• Oranges

Vegetables

Vegetables are similar to fruits in that their greatest contribution to your diet is not the energy, but rather the vital nutrients they supply. They contain many vitamins and minerals that you can’t find in fruits, including folic acid, iron, and potassium—all fundamental components of a healthy diet.
Vegetables can:

• Provide essential vitamins and minerals that benefit specific areas of the body.
• Contain many different antioxidants that help the body recover from stress.
• Have large amounts of fiber, which help regulate the digestive system.
• Help regulate blood-sugar and insulin levels, thanks to their typically low level of simple sugars.
• Ease muscle cramps with potassium

Like fruits, vegetables are best when eaten raw. Veggies are easy to pack and pull out at the studio or school, making them portable nutrient trucks just waiting to deliver the goods to your body.
Some great veggies are:

• Celery
• Garbanzo beans
• Spinach
• Cucumber

Mental Edge

Your mother always told you to eat your vegetables. And there really was—and still is—a reason for her nagging. Be positive about “having” to eat veggies; staring down your green beans a la Wyatt Earp isn’t going to make you like them any more than you did when you were a kid.

Milk Products

While milk products are often discouraged due to their frequently high fat content, they serve as vital pabulum within the body. Calcium, the main nutrient gained from milk products, is an integral part of having a long and successful dancing career. It not only maintains and supports strong bones (to keep bones stress-fracture free) but also, when combined with Vitamin D, can increase heart health and overall well being.
Milk benefits you by:

• Providing calcium for strong bones.
• Increasing Vitamin D absorption.
• Allowing “good” fats into your system.
• Adding small amounts of protein to your diet.

Look for low-fat or fat-free and hormone-free or unprocessed dairy products. This will allow you to get the calcium you need without the unwanted fat.
Some recommended milk/dairy products are

• Low-fat (1% or 2%) or skim Milk
• Unprocessed, low fat cheeses (Swiss, Parmesan, Cottage Cheese)
• Low fat yogurts

  WATER

Our bodies are 50 to 70% water, so water is important for hydration. All of the body's systems require enough water to function properly. Absorbing nutrients, cleaning out waste, regulating body temperature and even burning fat depend on it. Dehydration can cause cramps, nausea, fatigue and affect concentration. You don't have to drink every minute, but do keep a water bottle as part of your dance kit.

 MIX IT UP

The key to eating healthy while still keeping your desired ballet figure is to eat a wide variety of foods and focus on balance instead of restriction.
When you’re at the store, get outside your rut and buy many different kinds of seasonal fruits and vegetables, snacks, grains, and proteins. This diversity will help you stay on track and happy with your meals (instead of getting tired of lentils and rice for dinner every day).

SAMPLE MENU
Dancers are creatures constantly on the go; between classes, rehearsals, fittings and shows, you may not have a whole lot of time to sit down and eat. Try this simple menu to keep your body nourished and healthy without having to slow down.

Breakfast (Before class)

¾ cup oatmeal topped with ½ cup fruit (such as blueberries, peaches, or other seasonal fresh fruits)
1 hardboiled egg
1 glass (8 oz.) of 100% apple juice

Morning Snack

1 handful of almonds
1 cup or approximately 12 baby carrots

Lunch (After your first set of rehearsals/classes)

1 sandwich with two pieces whole wheat bread and 2 tbsp peanut butter
1 apple
1 slice unprocessed low fat cheese OR 1 6 oz. container fat free yogurt
1 glass (8 oz.) tomato juice

Afternoon Snack

½ cup pretzels OR whole wheat crackers
¼ cup pistachios

Dinner

2/3 cup brown rice
½ cup lentils OR black beans
1 small half chicken breast, baked
1 salad containing: 1 cup spinach, ¼ cup corn, 1/3 cup mushrooms, 1/3 cup pomegranate pips
(optional salad dressing: 1 tbsp olive oil, ½ tbsp lemon juice, 1 tbsp. balsamic vinegar)

Dessert

½ cup low fat frozen yogurt
1 mango (sliced) (can be added to frozen yogurt)

Peforming and Stage Fright: Ways to Cope

"So many dancers rely on some sort of magic happening on the stage. They never, for various reasons, work full out in rehearsal. That’s very uncreative. They don’t discover the kinds of things that add up to a remarkable performance." - Benjamin Harkarvy, Former dance director - Julliard School

As a dancer, performing can be one of the most exciting activities of your life. Months of rehearsing will always help you feel confident when you finally step onto the stage, but any amount of pressure can lead to anxiety  or stage fright before and even during show time

Plan Ahead - Visualize

No matter how long your rehearsal period may be leading up to a show, it is never too early to start thinking about the performance aspect of the dance. From the moment you begin learning the choreography, approach your steps differently than you might with classroom work. Although you want retain all of the precision you have gained during technique classes, rehearsals are the time to polish your dancing.

Much of your choreography might be based on classical steps, but there will be subtle details that alter their look. Take special note of any stylized movements the choreographer is demonstrating and try to pick up on them right away. Putting your mind and body into “performance mode” will ease your transition from studio to stage.

Most performances will be in a concert setting that features a proscenium stage with wings and a backdrop. With that in mind, it’s important to build an awareness of all things relating to that setting. You will know ahead of time where the audience will be sitting, so pretend the spectators are in the studio while you’re practicing. Know when you will look at them and what your facial expressions will be during the performance. Without altering the set choreography, decide how you want your body to be viewed by the audience. A theatre is more expansive than a square studio. The position of your head, hips, and arms will have a broader look if you keep the theatre in mind. If you rehearse with this awareness, your transition to the stage will be all the more seamless.

As you rehearse, begin to think about your entrances and exits. Visualize the wings backstage and make sure you know ahead of time which wing(s) you will be using during the show. This will help when you are in the theatre for rehearsals, as you won’t be so overwhelmed by the change of scenery. Once you are comfortable with your steps, try to ignore the mirror. It will not be there to guide you on stage. The sooner you can work without seeing your reflection, the better off you’ll be come performance time.

Positive Thoughts

One thing that can really let anxiety affect your performance is spending the preceding weeks thinking about all of the disastrous things that can occur on stage. It’s important to not fall into that trap and instead use positive visualization as a preparation tool.

There are many ideal times and places to close your eyes and imagine yourself performing exactly the way you want. Try to do this if you get time during or before rehearsals. Close your eyes as you stretch and go over your choreography. Also make it a point to review your entire dance in your head while laying in bed at night or in the morning. If you have the music, put some headphones in and let it guide your visions.

Pamper Yourself Take some time to do things that will relax you and help your body and nerves be in good shape.

Take a bath: Warm water is not only beneficial for your muscles; it is beneficial for your mind, too. A soothing bath at nighttime is great if you are having trouble sleeping due to performance anxiety.

Get plenty of rest: The week of a show is not the time to pull all-nighters. If you have other responsibilities in your life, try to take care of them before a performance week.

Eat a Healthy Breakfast. Get your body going with some food in the morning — especially on the day of a performance. Even if you feel like your stomach is in knots, your energy levels will be higher come show time.

Go easy on the coffee: If you drink caffeinated beverages, try not to overdo it. You will have so much natural adrenaline pumping and you don’t want to be jittery.

Backstage

Having a backstage ritual can be very comforting before a performance. Through trial and error, you can come up with an individual game plan for your pre-show preparation. You may want to get your hair and make-up finished before you warm up. Think about reviewing your choreography on stage before you put your costume on. Maybe bring your headphones and listen to some calming or inspiring music while you get ready. Perhaps you would like to wear your favorite warm-ups before every show. Whatever you decide, ensure that you have enough time to get everything accomplished. You do not want to feel rushed.

Breathe

Ten long deep breaths can go a long way before you step onto the stage. If you are feeling anxious, go to a quiet place and close your eyes. Place one hand on your heart and one hand on your stomach, and then breathe in and out ten times. Regulating your breath can ease your thoughts. You can do this in the wings, in the bathroom, in your dressing room — anywhere you feel comfortable.

Connect

No matter what your role might be, try and connect with your fellow dancers before a show. A smile, a hug, or a pleasant conversation may be just what you need to feel grounded. Once you are on stage, you can re-connect with your peers or colleagues and know that you are not alone out there.

Support

The audience, your directors, and your peers are all there for support. Remember that you have that support as you dance. Everyone wants the show to be a success. Let the communal experience boost your desire to have a great show. There is always the element of surprise during a performance that will add a level of excitement. Once you are dancing on stage, let go and do your very best. You might just be pleasantly surprised.