Guest User 12/4/23 Guest User 12/4/23

Dance is Life

To dance is to embody freedom.

To dance is to express oneself in a most powerful way.

To dance is to share oneself with others so that their lives might be enhanced by a blessed gift.

Part 1

By Vania Bynum

Vania Bynum | van-ee-uh bye-num | pronouns: she/her

To dance is to embody freedom.

To dance is to express oneself in a most powerful way.

To dance is to share oneself with others so that their lives might be enhanced by a blessed gift.

When I think about my journey in the arts, I reflect on my love of music, my desire to sing, and the excitement of theater and performance. When I think about my specific journey in Dance, I reflect on the fact that my whole life has been enhanced through the power of movement and dance. I ponder the truth that I would not be the same person without dance in my life. And I acknowledge that the healing elements of Pilates, yoga, and dance totally transformed my quality of life. After being struck by a pickup truck, a life of daily pain became an opportunity to heal and give thanks for the basics in life. I danced with praise for the ability to utilize my body as a tool for self-expression, and to bring joy to others by inviting them into my love of the arts. I dedicated my gift to liturgical dance, ministering to others, sharing stories through the power of gospel music and dance. The effect that the arts have had on my life and my health are undeniable and will continue to manifest as I enter my next phase of dance in my 50+ Vessel. With a recent diagnosis of Lupus, which has potentially debilitating effects on my body, the ability to move as long as possible has become even more precious. I am even more committed to embracing the spirit and vitality of dance so that I CAN live.

Although the diagnosis of Lupus was greatly unexpected, it was not completely surprising because the disease has shown itself in our family history with devastating results. As I navigate this new space, I now understand where some of my pains have come from. I understand why I danced consistently with ankle braces for no apparent reason, why I have mysterious joint pain that magically goes away, and maybe why I have had ongoing hip pain… even when I felt at my best. Oblivious to what was happening internally, I took the no pain, no gain stance because I was determined to dance at Cornish College of the Arts with other artists almost half my age. I was Free to Dance after a corporate job in Computer Engineering. I was committed to dance ministry as my way of communing with God and giving thanks for my life. I was thankful to Edna Daigre for introducing me to Pilates and the power of moving with Negro Spirituals, and to New Beginnings Christian Fellowship of Kent, WA., who embraced my gifts and provided a platform to speak from the heart through dance. And there are many others to thank that you will read about in the future. I am beyond grateful that I did not know that Lupus lurked in my body when stressful seasons came. All I knew was that I have a desire to dance and that throughout the “episodes,” I have never lost my ability to move. The flame still burns as I am challenged with the reality that I must be consistent in taking medication despite my free-spirited personality. I must monitor my stress levels and change my diet to keep Lupus at bay. I communicate with a family member to learn more about the disease so that I can be responsible. Lupus is a disease that affects people of all ages. I am not the first dancer who dances with Lupus, and I will not be the last. For this phase of my life, the arts will help me continue to thrive. And I can inspire others like those who inspire me. See these inspirational stories below about beautiful people and their journey with Lupus.

“ “To dance is to live. But to live, I must dance.” I dance for my Life. ”

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Journeys with Lupus...

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Guest User 11/13/23 Guest User 11/13/23

Celebrating Indigenous Dancers Past & Present

Many people in western culture generally feel comfortable with a binary kind of thinking because it's a way of processing information that we’ve grown up with. Things are either black or white, day or night, right or wrong. But when we make binary statements about people and art, we can create a rather limiting perspective for ourselves. I’ve found that such generalizations are often made about certain genres of dance or dance unique to specific cultural communities or regions.

A Look at the Contributions of Indigenous Performers Nationwide

By Madison Huizinga, DWC Blog Editor

*Photo of Indigenous Enterprise performers Kenneth Shirley and Dominic Pablo at Jacob’s Pillow in August 2022. Photo by Danica Paulos.*

For example, many are quick to assume that indigenous dancers and dance within indigenous communities must look a certain way. However, within indigenous communities across the globe, dance has played a variety of roles, including making cross-cultural connections in the case of “The Five Moons,” as well as telling stories, healing from trauma, and exercising imagination. Let’s take a look at just a few of the many talented former and active indigenous dancers contributing to the rich dance landscape across the country.

“The Five Moons”

Myra Yvonne Chouteau, Rosella Hightower, Moscelyne Larkin, Maria Tallchief, and Marjorie Tallchief, otherwise known as “The Five Moons,” are five Native American ballerinas from the U.S. state of Oklahoma known for achieving international recognition in ballet during the twentieth century.

“Of course, my parents were not about to let ballet take me away from my Indian dancing,” says Chouteau in American Indian Ballerinas. After touring globally with the Ballet Russe de Monte Carlo, Chouteau, a Shawnee-Cherokee, returned to Oklahoma and helped found the dance program at the University of Oklahoma in the early 1960s and the Oklahoma City Civic Ballet. On the other hand, Hightower, of the Choctaw Nation, found great success abroad, particularly in France where she earned the Chevalier de la Légion d’Honneur, a high marker of civil distinction in France, in 1975. Nonetheless, some jokingly argue that Hightower’s greatest accomplishment was famously learning the lead for Giselle in less than five hours!

*The Five Moons. From left: Maria Tallchief, Marjorie Tallchief, Rosella Hightower, Moscelyne Larkin and Yvonne Chouteau. Photo courtesy the University of Oklahoma School of Dance.*

Among Larkin’s accomplishments, one particularly notable is helping found the renowned Tulsa Ballet. Larkin, an Eastern Shawnee-Peoria, was inducted into the Oklahoma Hall of Fame in 1979. A descendant of a Russian mother and a Native American father, Larkin famously said that ballet gave her the freedom to express all parts of her identity.

Marjorie Tallchief, of the Osage Nation, performed with the Paris Opéra Ballet from 1957 to 1962, as well as the Chicago Opera Ballet, Grand Ballet du Marquis de Cuevas, and many other large-scale companies. Her older sister Maria Tallchief was the first American dancer to achieve the title of “prima ballerina.” When George Balanchine co-founded what would become New York City Ballet in 1946, she was the company’s first major star. Tallchief showcased her talents across the globe, becoming the first American to perform in Moscow, Russia’s Bolshoi Theater.

“These are American Indian people that have made this impact on ballet,” says Russ Tall Chief, a relative of Marjorie and Maria, and a co-planner of the 2021 Five Moons Dance Festival at the University of Oklahoma. “And that they consider themselves American Indian before they consider themselves ballerinas, I think that’s important. That is part of their vocabulary as dancers. They bring that history of American Indian culture to their dance, and to their interpretation of the way that they see ballet.”

“The Five Moons” overcame preconceived, limiting notions of what a ballerina should look like, particularly during a time when American ballet was viewed as inferior to European ballet. Writer Meryl Cates points out that these women not only grappled with finding their place in the culture of their companies as Oklahomans but as Native women in a white-dominated field. These women have come to represent much of what people think of when they envision successful indigenous dancers of the twentieth century. But the story has certainly not stopped with them. Today, and for thousands of years before today, indigenous dancers have been using movement as a way to tell stories, heal, connect with their own culture and the world around them, and much more.

Dancing Earth

Dancing Earth is a company striving to create contemporary dance and related arts through global-Indigenous and intercultural relationships. The company is based in Ogaa Po Ogeh and Ohlone occupied territory, otherwise known as Santa Fe, New Mexico, and San Francisco, California. It specifically centers its mission on ecological and cultural diversity for creativity, health, and wellness. Founding Artistic Director Rulan Tangen descends, in part, from the Kampampangan people of Luzon in the Philippines. A cancer survivor and recipient of Kennedy Center’s 2018-19 Citizen Artist fellowship, her work interprets dance as a functional ritual for transformation and healing, using movement to foster a connection with all life forms on Earth.

Earth Works Dance

Formerly based in occupied Duwamish territory, otherwise known as Seattle, WA, Earth Works Dance is a nomadic dance company focused on earth healing and land acknowledgment. Using dance as a means to help heal the “body, spirit, emotion, and mind” is a driver of the company’s mission. “[Art] is a spiritual and emotional provider that other people need to see the value in and then support…so their communities can grow and thrive, and in a sense, heal, mourn, and celebrate,” says Earth Works Dance founder and artist Elise Beers. Click here to read more about Elise’s work with the company.

Indigenous Enterprise

Indigenous Enterprise centers its art on what it refers to as “the three Ps”: Preservation, Performance, and Progression. Through its teaching efforts, the company strives to help preserve a strong Native American identity while welcoming many different kinds of performances and continuing to “progress” amid cultural and global changes. The dance group has been featured at Lincoln Center’s Summer For the City, Jacob’s Pillow, and lauded in Dance Magazine for their imaginative fusion of hip hop and Native American dance on season four of World of Dance.

The Jingle Dress Project

The idea of the Jingle Dress Project came to Navajo photographer Eugene Tapahe in a dream. Amid one of the heights of the COVID-19 pandemic, Eugene dreamt of jingle dress dancers appearing as he sat, watching bison graze. Seeing the dancers perform the traditional Ojibwe healing dance gave Tapahe a sense of peace, a feeling he knew the world was craving during such a grave global crisis. Jingle dresses are traditionally adorned with beadwork, ribbon work, as well as triangular metal cones around the skirt that shake and create a distinctive sound with each movement. The Jingle Dress Project has traveled across the United States during the COVID-19 pandemic as a way to help uplift communities. “The jingle dress is really important for Native people, and the purposes of healing,” says Eugene, illustrating yet another way that dance can be used to heal in and out of indigenous communities.

While this article is certainly not exhaustive of all the Native American dancers creating art across the United States, it provides a peak into some of the exciting, multifaceted artists contributing to a long-standing, vibrant dance landscape. To explore some of these artists in greater depth, click the links below!

Lessons from the Emerald Isle: What I’ve Learned as a Contemporary Dancer in Ireland

On September 12, 2021, I hopped on a plane and moved from Seattle to Ireland to study contemporary dance at the University of Limerick. It was a move five-years in the making, fueled by my lifelong love of Ireland itself and my growing career as a movement artist. I can say without reservation that this move was the best personal, professional, and artistic decision I’ve made to date. Living in a country that feels like home while advancing myself as a dancer has been transformative on a cellular level. I would love to share with you a bit of what I’ve learned on my Irish journey so far.

By Hannah Emory, DWC Blog Contributor

hannuh EM-or-ee), She/They

I traveled to Ireland twice in 2018, first as a tourist and again as a volunteer hostel worker, to sort of test-run my dream to live in the country. The pull I felt toward Ireland was intense well before I set foot in the country. I immediately fell in love with the spirit of the place and during my travels, I became convinced that Ireland would be my future home. Of course, visiting a place is totally different from starting a new life there, but even after returning to America, I yearned to get back to the Emerald Isle and give my new life a go.

Meeting my course director over Zoom in the weeks leading up to my immigration gave me a sense that the University of Limerick would provide me exposure to artists from around the world, students and teachers alike who would open my eyes to new facets of the dance world. Additionally, I would be able to tap more into my passion for fiddling, interest in Irish paganism and mythology, and growing skills in Irish dance. The weeks flew by as my anticipation, and a little bit of natural nerves, grew. And before I knew it, I had packed a massive suitcase, said goodbye to my family, and was marching through SeaTac with my heart pounding. As my Aer Lingus flight soared toward my new home a few hours later, I knew I was embarking on an incredible adventure.

It is wild to think that two years have passed since that fateful day. Sometimes it feels like I have been a student in UL for ages, other times it feels like I’ve snapped my fingers and found myself here: stronger after two years of rigorous training, with so much creative fire in my belly for what the future holds.

In that time, I have made dear friends, learned from some of the world’s best contemporary dance teachers, and been involved in some absolute dream projects. I’ve learned a tremendous amount from the last two years, and am anticipating so much growth in my final year of study. If I were to condense this time of my life into three crucial lessons, it would be the following:

Find your own creative path and follow it: When you’re in university, there will be many new sources of information and training that cross your path. I encourage you to soak it all in and seize the opportunity to make what you learn a part of your own unique creative signature. I did this by spending as much independent time in the studio as I could. I reviewed what I was learning from my teachers, improvised and experimented, and recorded my movement research. I also took improvisation classes, worked with my fellow students, and watched performances that gave me a vision for what I want my own choreography to look like. Finding your creative voice takes a mixture of relentless pursuit, joyful creation, and curious learning. It will be your most important tool as a movement artist and will give you endless material for creating work in the future.
Collaborate as much as possible: Collaborative projects are a bit like creative pressure cookers. They bring you into contact with artists who have ideas different to your own and are an amazing way to give and take creative inspiration. As an example, my class cohort came together for our first independent project in the summer of 2022. We learned so much about filming, rehearsing, choreographing, and we got a lot closer to each other. At the end of it, we had a work in progress that we are extremely proud of that served as a springboard for projects we’re doing now. You never know what will come from working with other dancers (especially when it’s with folks you’ve never worked with before); it’s one of the best learning tools available.
Don’t be afraid to forge a new path: Until about a year ago, I was convinced that I would follow a relatively traditional contemporary dancer’s path once I completed my degree. I supposed I would find work with a dance company and follow a standard performing dancer to choreographer/company director pipeline. But, through my education in UL, I discovered circus arts and fire performance, and my whole vision for the future changed and I unlocked a part of myself that was waiting to speak and move. I say all this to encourage you to not be afraid to reinvent yourself throughout your career. Wherever you started your training does not have to dictate the path of your future, and having a wide range of movement experiences under your belt is a commodity in the dance world. As another example, one of the girls in my year started as a popping street dancer, came to UL where she started contemporary dancing for the first time, and is now an incredible aerial dancer. Because of her willingness to go down new paths and explore, she has a range of movement available to her that makes her a dynamic and sought-after performer. So, if there is an avenue of movement arts you haven’t explored yet but want to, I encourage you to allow your path to shift from what you thought it would be. Answer the call to reinvent yourself and it will take you to amazing places.

In my experience, these invaluable lessons were heightened by training in another country where my comfort zone has been expanded by default time and again. Yet, these principles apply in any educational context and you don’t have to make a huge life change to implement them for yourself. Wherever you find yourself in your training or work as a dancer, you can stay in relentless pursuit of your own artistry, chase the collaborative opportunities that come your way, and stay open to reinventing yourself. I’ve found these elements to be highly adaptive tools in any movement context, and believe they are the spice of being a dancer. The possibilities are truly endless when you keep yourself open to what’s around you. Go forth and dance, my friend.

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Dance and Motherhood

Becoming a mother is a major life goal for many women in the world. But what does it look like when you’re a dancer? So much of the aesthetic of ballet relies on your body looking a certain way, so what happens when you no longer fit that mold? These were questions I started to ask myself when I saw those two VERY dark lines on my pregnancy test.

By Andrea Hines, DWC Ambassador

pronunciation: And-rea High-ns | pronouns: she/they

I found out in August 2021 that I was pregnant after almost a year of trying. While I was obviously very excited, I couldn’t help but also have a wave of panic come over me once I realized that it meant my body was going to change drastically. As a ballet dancer, there is a certain aesthetic that comes with the art form, and unfortunately, with a former eating disorder and a massive case of body dysmorphia, I was anxious as to what was to come regarding my body changing. The uterus is a safe, warm and cozy place for baby, but for a lot of women, it is often a source of pain and anxiety.

I was determined to stay active throughout my pregnancy. Whether that was getting into the gym, going on walks, or taking ballet class, I promised myself I would keep myself as healthy as possible. I was able to keep with this, until I reached my third trimester. I was diagnosed with Symphysis Pubis Dysfunction, which meant anytime I walked or moved, I had extreme pain in my pelvis. This resulted in being put on bed rest for the last three months of my pregnancy. I would later learn that the reason for this diagnosis was because of my tenacity to stay active. I pushed myself too far, didn’t slow down, and as a result, my body was FORCING me to rest. While I knew logically this was the safest option for me and my baby, the little voice in my head said “Well, what now?”

From my first OB/GYN appointment to my 39-week appointment, I had gained a total of 50 pounds. While this is a totally normal amount of weight to gain while pregnant, my body dysmorphia told me otherwise. I was ready and determined to get back into shape after I gave birth. Cut to April 20th, 2022, my water broke at 11:30pm, and it was go time! 19 hours later, my son was here! I would later learn that the reason for my pelvic pain was also due to an 8 pound 3 ounce baby living inside me. But here we are, a new family of three! The next six weeks of recovery, healing and figuring out how to keep a tiny human alive swept by faster than I could have ever imagined. Once I got the go ahead to incorporate exercise back into my life, I thought to myself “How the F&!# am I supposed to find time to exercise when I have a tiny demon attached to me 90% of the day???” It started with small walks, while my son was napping, following a YouTube workout, and eventually, I got back into a ballet class…. But not right away.

I volunteer as one of the Rehearsal Assistants at Evergreen City Ballet, which means that I assist run rehearsals and teach choreography for whatever production we are getting ready for. In this instance, we were gearing up for Nutcracker. Running these rehearsals became another form of exercise, and one that I enjoyed. Rehearsals continued on, and we got to our final weekend of shows. I made a vow to myself that night, and promised myself that I would work my butt off, so I could get in shape enough to perform in Nutcracker 2023. And not just a character role; this meant I would strap on my pointe shoes and perform in a corps role.

January 2023

I looked into as many Open Adult classes as I could. I started the week on Mondays taking a beginner’s class at Northwest Ballet Center, so I could get back to basics and work on the fundamentals of ballet technique. Since this class went from 8pm-9pm, I was able to hand off any baby-duties to my amazing Husband. I won’t lie, this was a STRUGGLE, as I also work a regular 9am-5pm corporate job. I also recognize that I have the luxury of the support of a partner, so I am able to pursue the activities I want to pursue. Even if it meant bringing my son to the studio, my heart NEEDED to be in the studio.

After a few weeks, I started taking other open classes at Evergreen City Ballet & Dance Conservatory Seattle. Both these places have a special place on my heart for a few reasons:

ECB is where I got all my training. It is my comfort- my second home.
DCS is so incredibly inclusive, so I didn’t have to worry about my body looking a certain way to fit in. This place helped me rebuild my relationship with this new body of mine.

March 2023

I got fitted for pointe shoes from the ever so lovely Samantha from Dancewear Center!

June 2023

I performed a contemporary piece with DCS, and got back on stage for the first time in 12 years.

I continued to take classes, continued to get my strength and flexibility back, and then, we get to September 2023. Nutcracker casting is posted, and I see my name on the list: Andrea Hines, Snowflake & Flower. This was a momentous time for me. I have achieved my goal. I have the opportunity to perform the same choreography I performed as a student, 13 years later. As I’m writing this, I am in between Nutcracker rehearsals, and I am just happy.

As I mentioned, I am so incredibly lucky to have the support of my Husband, Maveryke, and a part-time nanny who allows me to get out of the house so I can take class and make it to rehearsal.

I just want to share that dance after giving birth is possible. It’s cliché, but it truly takes a village. My son is lucky to have so many people who are willing to watch him so I can achieve this goal of being able to dance again. I cannot thank them enough, from the bottom of my heart. And thank you Dancewear Center for taking a chance on me as your new Ambassador, and being able to share a new perspective.

Happy Dancing, and Happy Parenting!

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Guest User 10/23/23 Guest User 10/23/23

Get To Know DWC Ambassador Andrea Hines

Andrea Hines trained in dance at a high level from a young age in classical ballet. She started in Tacoma City Ballet and transitioned to Evergreen City Ballet and continued to train throughout high school. Since then she took some time off from dance, moved to California and back again, got married and had a baby! In 2019 she decided to come back into the dance world. Starting in the administrative side and then gradually back into ballet classes. Read on to learn more!

pronunciation: And-rea High-ns | pronouns: she/they

By Samantha Weissbach, DWC Owner & General Manager

Andrea speaks to the difficulties and realities of getting back into dance after having a baby. She says it is fully possible, but it takes time. Social media skews many mothers’ expectations and can make them feel inadequate if they are unable to bounce back immediately. She wants to share her journey, and show other mothers a realistic approach to returning to activity after the baby.

This has become an overarching passion for Andrea. They want to teach others that what you see on social media is often improbable to achieve and at times, simply impossible. She feels the culture has shifted into nonstop comparisons. She says, “love that body that you have now, and work with what you have.”

Andrea teaches at BLS and ECB which holds open classes on Saturdays for adults. They will be performing in Auburn December 8-10th and Ikea Performing Arts center December 15-17th.

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Guest User 10/15/23 Guest User 10/15/23

Get To Know DWC Ambassador MiYoung Margolis

MiYoung Margolis is one of our newest ambassadors here at DWC! She has had a wonderful career in the arts both in South Korea and here in Seattle. An accomplished mixed media artist, fashion designer and choreographer, she brings a unique perspective to the arts and our ambassador program. Read on for more about this unique and interesting artist!

pronunciation: Me-young Mar-go-lis | pronouns: she/her

By Samantha Weissbach, DWC Owner & General Manager

MiYoung trained from a young age in classical western dance as well as traditional Korean dance and eventually received her degree in dance in South Korea. After moving to Seattle she worked in various artforms including visual art and fashion. Her gallery in Seattle displays her impressive range of art and creations and doubles as her company’s rehearsal space.

She is very passionate about getting every body into dance (something we can definitely agree on). She focuses her teachings and art on including all humans regardless of their background or training.

Her dance company, MMDC, is co-hosting the O-Jak Bridge Dance Festival with Adage Ballet on Dec 9th at the Erickson Theater in Seattle. They will be performing a non-traditional Swan Lake performance, as well as performances by multicultural artists and choreographers. You can click here to book tickets now!

We are thrilled to have MiYoung join the DWC family and you can look forward to seeing more from her on our Instagram and YouTube!

MMDC

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Guest User 10/8/23 Guest User 10/8/23

Empowering Dancers in the Studio and On Stage - Local Choreographer Alicia Mullikin On Creating An Inclusive Space for all Marginalized Communities

Empowering dancers is something that is very important to local dance teacher and choreographer Alicia Mullikin. Being able to be your true self in the studio and on stage is one of the main goals she tries to pursue with her dance company El Sueño. We got the chance to speak with Alicia about her mission statement, her dance company, and her personal dance journey. Read on to learn more!

Pronunciation: Ah-lee-see-ah Mull-ih-kin | Pronouns: she/her

By Nicole Barrett, DWC Blog Editor

photo courtesy of https://www.aliciamullikin.com/works

Alicia started dancing in the middle school show choir. While she was in the show choir, the choreographer quit which left the group without choreography. Alicia decided she wanted to help choreograph without taking any dance classes and fell in love with the creative process. She asked her parents to put her into dance classes at the local YMCA, where her love of dance and choreography bloomed.

After high school, Alicia went to Riverside City College where she continued to train in dance before transferring to Cornish College of the Arts. It was here that she encountered some struggle and came up against some rigid viewpoints about body shape and traditional expectations around size. However, it is also where she met some incredible teachers and lifelong friends. Alicia later went on to get her Masters in Dance from Cal State University of Long Beach and she was recently selected as an Arts Advocacy Leadership fellow by the National Association of Latino Arts and Cultures.

When asked about Alicia’s favorite thing about dance, she says, “Dance allowed a space for me to express myself in ways that I am unable to verbally. It allows me to be the person I want to be.” Folks often describe Alicia’s movement as expressive and powerful. She strives to bring this out of her students as well as guide them to stand in their full power and own their own story.

El Sueño is an organization founded by Alicia. They use dance as a platform for community engagement, empowerment, and healing of marginalized communities. The phrase el sueño means “the dream” which is important to her as a first-generation American. Seeing her parents sacrifice and strive for the American dream has inspired her to continue pressing forward. Alicia’s family is descendant from the Indigenous people’s of North America and the genocide and struggle that they went through inspires her to be resilient. She shares, “I am the recipient of the American Dream, that is generations in the making.”

Alicia is currently working on a new work MESTIZO. It is an evening of collected stories of the Mexican-American experience. The description states As Mexican people, our histories are painfully entwined with both our Indigenous ancestors and our Spanish colonizers. So much of our Indigenous history was stripped from us through centuries of cultural erasure and genocide. What we have been able to hold onto has been strategically hidden within Catholic images and appropriated spiritual practices. Assimilation was the way we survived extinction, but defiance and resilience was threaded in the ways we stealthily passed our cultural practices through the colonial lens. MESTIZO bravely claims the pain and power of this history with each artist documenting their experiences. The event will include visual arts, film, music, dance, and ceremony that powerfully weave together our collective experiences.

You can find out more about Alicia and her new work at https://www.aliciamullikin.com/mestizo

And follow the El Sueño Instagram here!

If you’d like to support Alicia’s upcoming production of MESTIZO you can donate to their project fundraiser at https://www.gofundme.com/f/mestizo

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Guest User 10/1/23 Guest User 10/1/23

How to Create a Dancer Warm Up and Why it is Important

By Caroline Schmidt, ACE CPT, DWC Ambassador

pronouns: she/her | pronunciation: kay-row-line sh-midt

As a young dancer I never really considered the importance of warming up. If you looked across the room before a ballet class I remember seeing dancers sitting in their middle splits, legs on the barre stretching forward and chatting about their weekend plans. When I got to college level dance I discovered my schools recreation center and weight room. It was not until my Anatomy and Physiology class in college that I learned how to strength train and why it is so beneficial in activities like jumping and leaping that was necessary in dance. In undergrad I started personal training and discovered a warm up routine that worked for my body. The first most important thing when creating a warm up is to ask yourself what is required of me? In running you need strong legs and core, for rock climbing you need mobility and upper body strength, in swimming you need length and power. My warm up routine is a combination of yoga, running and strength training that I have found over the years!

You might ask: why do I need to warm up? I am a young dancer I can just jump right in to my dancing right? Well, there are many benefits to a good warm up. The most important thing is that it is a gentle way to start preparing your body for what is to come. If you were to do a heavy squat you wouldn’t just jump in to lifting the heaviest weight right? You start with a gentle activation of the muscles to tell them it’s time to work. It is also good for your muscles and your heart to gradually build up to movements. A warm up is also really important to decrease the likelihood of injury. If you go too hard too fast you might tear a muscle or hurt yourself.

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Studies have shown the importance of a good warm up and how it can increase your performance in 79% of all aspects being analyzed. This analysis has shown that performance improvements can be seen after completion of adequate warm-up activities, and there is little evidence to suggest that warming-up is detrimental to sports participants. (Fradkin et al, 2010). There has been a large debate regarding if static stretching before activity decreases physical athletic performance. I prefer a dynamic stretching approach which you can see is built into my example warmup program. Dynamic stretching is where you are stretching throughout a range of motion however you aren't just sitting in a position for prolonged period of time. You are active and using your muscles to move through the range. I like this because it is more functional in dance! There are also some detrimental effects to just static stretching especially before you are warm enough including decreasing your ability to produce a strong muscle contraction for powerful movements like jumping and thus decreasing performance (McMillan, 2006).

I like to take a very analytical approach to my warm up. You have your major joints and its a good idea to warm up each major muscle group. Major muscle groups include: glutes/hamstrings, quads/ hip flexors, shins and calves, abdominals, chest pushers and pullers. An exercise for each with a gentle activation will start to remind these muscles it's time to work! I like to start with a whole body connection to get the blood flowing and end with a full body connection moment putting everything together. I also like to do exercises where I am not only stretching but strengthening to start to build the neural connections. This is an example warm up routine that I have found works for my body but may not necessarily for everyone!

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My Warm Up Routine:

Step 1: whole body connection movement
- Sun Salutation from standing into plank and hip stretch with worlds greatest stretch

Step 2: chest pushers
- Plank shoulder taps

Step 3: back pullers
- Superman and lat pulls

Step 5: quads/ hip flexors - Bird dogs

Step 4: glutes/hamstrings - Bridges

Step 6: abdominals
- Dead bugs

Step 7: shins and calves
- Squat into a calf raise

Step 8: full body connection moment puting everything together
- Single leg RDL with arm movements (balance incorporated into the movement)

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Resources

Fradkin AJ, Zazryn TR, Smoliga JM. Effects of Warming-up on Physical Performance: A Systematic Review With Meta-analysis. Journal of Strength and Conditioning Research. 2010;24(1):140-148. doi:https://doi.org/10.1519/jsc.0b013e3181c643a0

Kozai A, Surgenor B, Ma. The Importance of a Good Warm-Up: Are You Warm Enough to Start Dancing?; 2017. https://iadms.org/media/3598/iadms-resource-paper-the-importance-of-a-good-warm-up.pdf

McMillian DJ, Moore JH, Hatler BS, Taylor DC. Dynamic vs. Static-Stretching Warm Up: The Effect on Power and Agility Performance. The Journal of Strength and Conditioning Research. 2006;20(3):492. doi:https://doi.org/10.1519/18205.1

NYSMI | The Importance of Stretching and Warm Up Exercises Before Physical Activity. Accessed August 24, 2023. https://nysportsmedicineinstitute.com/the-importance-of-stretching-and-warm-up-exercises-before- physical-activity/#:~:text=Warming%20up%20exercises%20increase%20blood

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Links to educational content not created by Dancewear Center are taken at your own risk. Dancewear Center is not responsible for the claims of external websites and education companies.

Guest User 9/24/23 Guest User 9/24/23

Get To Know DWC Ambassador Vania Bynum

Vania Bynum is one of our newest ambassadors with a unique dance story and very interesting perspective, read on to learn more about her and her organization, VCBynum Arts & Education!

Vania Bynum | van-ee-uh bye-num | pronouns: she/her

By Samantha Weissbach, DWC Owner & General Manager

Dance can be life-changing in many different ways. It can unleash a new identity inside and help express oneself for the whole world to see. We got the chance to speak with our very own DWC Ambassador Vania Bynum about what dance means to her! Read on to learn more about Vania’s dancing journey and what inspired her to become a DWC Ambassador!

Vania started dancing when she was in a club in school that allowed opportunities for underserved communities to be immersed in various forms of art. She was introduced to dance through this program and she shares she was in and out of this program for a couple of years. After going to college to become a software engineer, she came across Alvin Ailey for the first time in her late 20s and she realized that she needed to get back into dance.

While she was working at Microsoft, she would take classes in order to get back into dance and practice. Vania danced for Eastside Dance and Elizabeth’s Dance Dimensions in adult groups which made her want to further her artistry and take her dancing to the next level. Vania took a year off and studied dance which was her love and passion and auditioned for Cornish College of the Arts where she got in.

When asked about what inspired her to become a DWC Ambassador, Vania shares that her friend, former DWC Ambassador Robbi Moore, introduced her to the program. She was asking them about the things they were posting and they talked about it which led to Vania doing her own research. She believes that this will allow her to move forward in her dancing journey and be able to share her story with others. This can allow her to grow as not only a person and push herself but as an artist as well.

Vania is in a 50+ group that is called The Throwbacks that do performances so be sure to watch out for those performances! Vania also has VC Bynum Arts and Education which hosts classes in Bellevue, so look out for those flyers and sign up for classes!

We are so excited to have Vania as one of our DWC Ambassadors! Be sure to check out the full interview on YouTube!

VCBynum Arts & Education

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Guest User 9/18/23 Guest User 9/18/23

Ian Howe on His Journey with Mental Health & Dance

DWC Ambassador, Ian Howe, speaks about his journey through dance during the pandemic. His story is especially interesting as a studio owner! Often we don’t hear from that aspect of the dance industry and it’s refreshing to get a different perspective on the dance world. He also bravely speaks to his difficulties with mental health, anxiety and depression. Ian shares that while things can still be difficult, he is progressing forward and you may be able to relate. Watch the video for the full talk!

“One of the biggest things I needed to learn, is that it’s okay to not be able to do EVERY thing.”

— Ian Howe

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Links to educational content not created by Dancewear Center are taken at your own risk. Dancewear Center is not responsible for the claims of external websites and education companies.

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