Physically Returning to Dance: Tips on Handling Load Tolerance and DOMS
It’s an exciting time of the year: the leaves are just starting to change colors, there is a crispness to the morning air, and most importantly, we are returning to the studio to dance!
While dancers usually stay very active in the summer, it’s not usually the same intensity or type of training as during the school year. You might have been swimming, hiking, biking, playing beach volleyball, etc. You might have been dancing but the daily dance classes and training were probably less intense or more intermittent. And the classes might have been virtual.
By Colleen Bickel, Local Physical Therapist and Dancer
It’s an exciting time of the year: the leaves are just starting to change colors, there is a crispness to the morning air, and most importantly, we are returning to the studio to dance!
While dancers usually stay very active in the summer, it’s not usually the same intensity or type of training as during the school year. You might have been swimming, hiking, biking, playing beach volleyball, etc. You might have been dancing but the daily dance classes and training were probably less intense or more intermittent. And the classes might have been virtual.
So, picture this. Imagine that you are a marathon runner. And in the training season, you run up to 50 miles a week. In the off-season, you run maybe 6 miles per week just to “stay in shape.” Do you think the first week back in your training season you should go directly to 50 miles?
It’s easy to say in that scenario, “absolutely not.” But, as dancers, we usually go from not dancing to a full schedule, giving 100% to every class. We do it because we are excited to return to the studio and we love to dance. We do it because we don’t want to appear lazy or disappoint our teachers. But this mentality does sometimes lead to injury.
In the world of Physical Therapy, we talk about “load tolerance of tissue” (tissue, in this case, includes muscle, bone, and connective tissue like tendons and ligaments). Basically, what kind of “loads” can your body handle and how quickly can you progress those loads. If you load too fast and don’t allow your body adequate time to rest and repair, then we end up with things like tendonitis, stress fractures, shin splints, or other “over-use” injuries. “Over-use” is pretty much “over-loaded” without adequate chance to rest and repair.
A less worrisome (but often not enjoyable) bodily experience after returning to dance is DOMS (delayed-onset muscle soreness). DOMS is intense muscle soreness that occurs 12-72 hours after an activity. If you are dancing every day, sometimes it’s hard to know what you are feeling sore from; is it today’s ballet class or hip hop 2 days ago?
So, what things should dancers do to mitigate DOMS and possible over-use injuries when returning to dance?
The two big categories for injuries and over-use are jumps and relevés. These are movements that our bodies need to slowly build up a tolerance for and we are likely not performing the same amount of them in our off-season. Ultimately, be thoughtful about the amount of repetitive loading that is occurring each day. How many relevés and how many jumps are you performing each day? You might need to limit this amount and then slowly increase it while also allowing enough time for recovery in between sessions.
When returning from a break, recommendations include:
Make sure you are adequately warmed up.
Be careful about overstretching before class. Focus on improving flexibility after class and perform a dynamic warm-up before class.
Don’t try to perform challenging movements when you are fatigued.
Limit the amount of relevés you are performing daily. Maybe you perform some relevés at barre during ballet but not every combination in the center. Maybe you perform relevés during pointe class but limit them in your ballet class prior. Remember it’s about the total number per day and your body’s ability to have time to recover before performing that activity again.
Limit the number of jumps you are performing daily. Possibly limit the height of your jumps as you slowly return to dance. Focus on building up your tolerance for jumping with smaller jumps and working on good alignment and mechanics.
“Be careful about overstretching before class. Focus on improving flexibility after class and perform a dynamic warm-up before class.”
The two big categories for DOMS are pliés/grandpliés and planks/push-ups. These movements utilize large muscles that will get sore! With DOMS, you should feel the soreness with movement or stretching but not with rest. The soreness should be in the muscle belly and not in a tendon, ligament, or joint.
If dealing with DOMS, recommendations include:
Perform light gentle movement. This could be walking, a light elliptical or bike cardio workout, or going through a dynamic warm-up. This maintains blood flow which nourishes the muscle to heal quickly and does not allow lactic acid to build up.
Research has shown that stretching and releases (ball rolling, foam roller, massage gun, massage session, etc) won’t affect it either way. Won’t make it better, won’t make it worse.
Avoid NSAIDs like ibuprofen. These interfere in the natural process of soreness, recovery, and adaptation.
Overall, make sure you are getting enough sleep and good nutrition. The body recovers while you are sleeping, so if you are not getting enough sleep, you are not recovering to the best of your abilities. If you are not getting adequate nutrition, your body does not have the basic building blocks it needs to recover.
DOMS should resolve with time. If the pain persists for weeks, if you are markedly worse AFTER class, or if the pain is sharp/burning/tingling/searing then you may be dealing with an injury and these factors should be respected. At this point, seeing a physical therapist may be a good idea.
Ultimately, you know your body better than anyone else! Let your teacher know if you need to limit movements and self-advocate for what you need! And just know that after a few weeks of slowly increasing your tolerance, you will be back in great shape and able to go 110%.
DWC Ambassador Kendall Hadley On The Mental Challenges Of Injury
Overcoming the physical and mental challenges of my injury was one of the hardest things I have gone through as a dancer.
In both 7th grade and my sophomore year of high school, I dislocated my knee during dance class. The first time I came out of a jump and landed poorly and sat out for four months. The second time my pointe shoe slid out from under me and I sat out for six months.
By Kendall Hadley, DWC Ambassador
Pronunciation: Can-doll Had-lee | Pronouns: she/her
Overcoming the physical and mental challenges of my injury was one of the hardest things I have gone through as a dancer.
In both 7th grade and my sophomore year of high school, I dislocated my knee during dance class. The first time I came out of a jump and landed poorly and sat out for four months. The second time my pointe shoe slid out from under me and I sat out for six months.
As a dancer I’ve become accustomed to relying on my body to perform as it needs to as long as I take care of it. My injuries were both sudden, unpredictable, and devastating. I could no longer count on my body the way I used to. I had to rely on crutches to walk, and others to be kind enough to help me with simple tasks such as opening the door. During this time I had to repair the physical and mental relationship of my body during the time of my injury, and long after my recovery.
While tedious, my physical recovery is essential to my healing, and it still benefits me today. Having back-to-back doctors and physical therapy appointments was time consuming, but I also learned more about my body in that time than I ever had before. Finding a physical therapist that was supportive as well as knowledgeable of my recovery process was extremely helpful in my recovery. It’s important that your physical therapist knows you are returning to dance, not just to recreational activity. Dance is a physically demanding sport that requires strength and endurance. I had to advocate for myself and explain the physical demands that were required for my sport were not simple. My physical therapist and I both worked to develop a routine that would help me return to my regular dance activity.
After months of hard work, rest, and truly listening to my body I was able to slowly return to taking class. After my second injury I encountered many more mental obstacles than physical. I no longer trusted my body. I was always psyching myself out from trying new movements, compared myself to others, and encountered anxiety within the classroom.
Anytime I was introduced to new movements I encountered anxiety. Fearing re-injury, I found I was holding myself back in dance and wasn’t pushing myself. This stunted my growth as a dancer. I had to learn to overcome these physical and mental obstacles overtime.
The things that really aided me on me journey to mental recovery:
-Go to your dance classes and take notes
I know it can be hard to watch your friends get to dance and not be able to join them, but this will help you learn by watching and remembering your terminology. It also shows that you genuinely want to be there and your instructors will see that.
-Know the difference between pain and discomfort
This requires an elevated awareness of your body that not many people possess. There is a difference between doing something your body isn’t used to and dancing through pain. Learn what is your body entering new territory and what is your body’s way of saying it needs a break.
-Take care of your body
Beyond the doctors appointments and dance classes, there is so much you can do to take care of your body. The little things like cold showers or warm baths make all the difference. Take time to ice your feet, warmup, roll out, stretch, meditate, and do everything your body needs to before hitting the dance floor.
-Be patient with yourself
Being a dancer you require a lot from your body. Understanding that your body needs the time to work up to what it once was is difficult. I have found that in some ways my injury has made me stronger as a dancer and I go into dance with an appreciation for my body and what it is allowing me to do. It may take some time before your body is dancing at the level it used to, but you may be a better dancer because of it.
Disclaimer
All content found on the Dancewear Center Website, Instagram, Facebook, Pinterest, and all other relevant social media platforms including: text, images, audio, or other formats were created for informational purposes only. Offerings for continuing education credits are clearly identified and the appropriate target audience is identified. The Content is not intended to be a substitute for professional medical advice, diagnosis, or treatment. Always seek the advice of your physician or other qualified health provider with any questions you may have regarding a medical condition. Never disregard professional medical advice or delay in seeking it because of something you have read on this Website.
If you think you may have a medical emergency, call your doctor, go to the emergency department, or call 911 immediately. Dancewear Center does not recommend or endorse any specific tests, physicians, products, procedures, opinions, or other information that may be mentioned on dancewearcenter.net. Reliance on any information provided by dancewearcenter.net, Dancewear Center employees, contracted writers, or medical professionals presenting content for publication to Dancewear Center is solely at your own risk.
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.
Coaching For Excellence and Debunking Misinformation
Ms. Robbins also wishes to see a greater focus on keeping Washington’s aspiring ballet dancers performing at a national level and being prepared to audition for international schools and companies. In her teaching and coaching philosophy, she believes in breaking down mechanics, dynamics, and coordination to find the root cause of a challenge a dancer is facing to eliminate incorrect muscle memory or habits that hold them back or cause weakness/insecurity in their performance. She is passionate about coaching pirouette and jumping techniques as separate classes in her workshops and developing dancers who articulate their epaulement and footwork at a high classical standard. Through KMCoaching intensives, Ms. Robbins aspires to help PNW-based students supplement their year-round training with hands-on attention and challenging high-stamina classes, to ensure dancers feel prepared to take the next steps in their careers.
Kathryn M. Robbins on Her Training Philosophy
By Madison Huizinga, Former DWC Blog Editor
Photo by David Cooper
Operating in a history-rich artistic genre like ballet has its benefits and drawbacks. While there are benefits in upholding the traditions of classical ballet training, there is also a need to push for more up-to-date information about important training aspects, particularly those relating to nutrition and mental health. Kathryn M. Robbins, the owner of The Sylvia Joyce Wanner School (previously known as The Ballet Workshop of Port Angeles) and director of KMCoaching Seattle, is passionate about technically progressing dancers through coaching workshops and helping demystify widespread misinformation in the dance realm. Click here for more information on KMCoaching’s Young Professionals Intensive 2023 being held August 21-25, 2023 at The Francia Russell Center at Pacific Northwest Ballet.
Ms. Robbins’ dance journey began in Toronto, where she only began serious ballet training at the age of 11. At age 15, it was The Joffrey Ballet School that would introduce her to the professional world of dance. She would go on to become an apprentice at Ballet British Columbia in Vancouver, BC, Canada, and perform on tour with Vancouver Goh Ballet, Colorado Ballet, and American Ballet Theatre. Due to injury, and a desire to step into pedagogy, she stopped dancing in her early twenties. She shares that her goal in dance was always to teach, after first performing at the highest professional level that she could, as she saw the value in bringing the first-hand perspective of a professional dancer to her role as a teacher. She opened her first all-junior private academy, Vancouver Junior Professional Division, in 2005.
Before transitioning into teaching full-time, Ms. Robbins shares that she did a lot of independent research, using her Cecchetti certifications to help build her base of knowledge. She attended consecutive teachers' course summers at Central Pennsylvania Youth Ballet in Carlisle, Pennsylvania, where she honed in on what type of content she wanted her teaching curriculum to contain, drawing inspiration from the renowned Marcia Dale Weary. She continued to stay connected with CPYB and is now a frequent guest teacher at their summer intensives.
After years of research, Ms. Robbins would base her Vancouver ballet school’s syllabus on what she learned at CPYB, combined with principles from The Royal Ballet School’s teacher program, the Paris Opera Ballet School’s demonstrations, and ABT’s curriculum. “I was sort of getting a sense of all these different training methods and what I thought was useful from all of them,” she says of honing her own syllabus. From 2009-2015 her students would win consecutive medals at YAGP and in 2013, she was named Outstanding Teacher at the YAGP New York Finals. After running her ballet school for nearly eleven years, her syllabus produced graduates who would go on to dance with Princess Grace Academy, English National Ballet, Stuttgart Ballet, Dresden Opera, San Francisco Ballet, School of American Ballet, and The National Ballet of Canada, to name a few. In 2015, Ms. Robbins founded KMCoaching as a professional coaching/workshop outlet for Seattle-based students and relocated to Port Angeles, Washington where she bought an existing dance school, The Ballet Workshop, founded in 1970.
“The kids here are doing wonderfully,” Ms. Robbins says of The Sylvia Joyce Wanner School. “I’m very happy with where I’ve landed at this point in my life.”
Ms. Robbins’s parents are renowned sports coaches and educators, which helped instill an appreciation for excellence in athletic coaching and achievement in her. The way her parents superbly communicated athletic skills with students and team members greatly resonated with her growing up. “I latched on to them as mentors,” Ms. Robbins says, sharing that her parents involved her in coaching gymnastics and participating in dance.
“Ballet is 90% psychology. Dance is so much in your head,” Ms. Robbins says, sharing that the psychological approach to sports training that her parents often utilized was something that she was inspired to translate as a classical ballet coach. Teaching dancers to capitalize on their emotional capacity to invest in themselves and be fully present are aspects of sports psychology Ms. Robbins found particularly fascinating.
“It feels like a private language,” Ms. Robbins says of classical ballet. “I think there’s something so comforting about knowing that people understand this language that you speak.” She also has an appreciation for the rich history and traditions of ballet. “It feels like such a privilege to carry that history with you,” Ms. Robbins says, while also acknowledging how some of the old traditions and ways of thinking have become outdated and unhelpful to dancers of the modern age.
One of the biggest challenges Ms. Robbins feels she has witnessed in the dance world is the dissemination of misinformation about training, including antiquated beliefs about nutrition and body image. Growing up, she shares that she received a lot of conflicting information about diet and muscle recovery, which contributed to nutritional challenges, injuries, and issues with her body image as a teenager. Since she started dancing a bit later than many of her peers, Ms. Robbins was also often told that she could never make it as a professional, which wasn’t true.
“We still have very outdated ways of thinking [and] looking at things…which I think this generation of leadership is trying to change gradually in the ballet world,” Ms. Robbins says. She hopes to see improved access for dancers on how to take care of themselves, how to pace their training, recover nutritionally, and rehearse effectively. At this point in time, she encourages young dancers to always advocate for themselves and do their own research rather than just take information at face value. She feels hopeful seeing schools and companies talk more about mental health challenges on social media outlets and teachers encouraging open dialogues with their students.
Ms. Robbins also wishes to see a greater focus on keeping Washington’s aspiring ballet dancers performing at a national level and being prepared to audition for international schools and companies. In her teaching and coaching philosophy, she believes in breaking down mechanics, dynamics, and coordination to find the root cause of a challenge a dancer is facing to eliminate incorrect muscle memory or habits that hold them back or cause weakness and insecurity in their performance. She is passionate about coaching pirouette and jumping techniques as separate classes in her workshops and developing dancers who articulate their epaulement and footwork at a high classical standard. Through KMCoaching intensives, Ms. Robbins aspires to help PNW-based students supplement their year-round training with hands-on attention and challenging high-stamina classes, to ensure dancers feel prepared to take the next steps in their careers.
Sources:
Disclaimer
All content found on the Dancewear Center Website, Instagram, Facebook, Pinterest, and all other relevant social media platforms including: text, images, audio, or other formats were created for informational purposes only. Offerings for continuing education credits are clearly identified and the appropriate target audience is identified. The Content is not intended to be a substitute for professional medical advice, diagnosis, or treatment. Always seek the advice of your physician or other qualified health provider with any questions you may have regarding a medical condition. Never disregard professional medical advice or delay in seeking it because of something you have read on this Website.
If you think you may have a medical emergency, call your doctor, go to the emergency department, or call 911 immediately. Dancewear Center does not recommend or endorse any specific tests, physicians, products, procedures, opinions, or other information that may be mentioned on dancewearcenter.net. Reliance on any information provided by dancewearcenter.net, Dancewear Center employees, contracted writers, or medical professionals presenting content for publication to Dancewear Center is solely at your own risk.
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.
Tips For Preparing Your Pointe Shoes for Summer Ballet Intensives
An exciting summer of dancing is in store for many dancers this year with summer ballet intensives right around the corner. Intensives are a great way to challenge oneself, try new skills, meet new people, and experience different ballet styles. They are also called “intensives” for a reason, as dancers are typically dancing hours a day for weeks on end, sometimes in different states. At Dancewear Center, we want to make sure our customers are prepared for an exciting summer of dancing by providing them with the tips and supplies they need to be successful.
By Madison Huizinga, DWC Blog Editor
Photo by Elena Kloppenburg from Unsplash
An exciting summer of dancing is in store for many dancers this year with summer ballet intensives right around the corner. Intensives are a great way to challenge oneself, try new skills, meet new people, and experience different ballet styles. They are also called “intensives” for a reason, as dancers are typically dancing hours a day for weeks on end, sometimes in different states. At Dancewear Center, we want to make sure our customers are prepared for an exciting summer of dancing by providing them with the tips and supplies they need to be successful.
An important part of preparing for summer ballet intensives is making sure your pointe shoes are prepared for long hours of dancing. Pointe shoes only last about 10-20 dancing hours on average. It’s helpful for dancers to take steps to prolong the life of their shoes, as dancing in dead shoes can have adverse effects on foot and ankle health. For instance, dancing in dead pointe shoes with little support overloads dancers’ joints and can change their center of gravity, which can make force unevenly distributed and excessively load the front of dancers’ feet. This can put dancers’ feet and ankles at risk for stress fractures, bunions, and more harmful injuries in the long run. See: “The Dangers of Dancing on Dead Pointe Shoes” by Dance Magazine
So, how can dancers prolong the life of their pointe shoes to prepare for upcoming summer ballet intensives?
Rotate Multiple Pairs of Shoes
Firstly, dancers can rotate their pointe shoes to keep them lasting longer. To do this, dancers can purchase multiple pairs of their pointe shoes, sew them, and alternate the ones they wear each day. It’s helpful to take into account the average lifespan of a pointe shoe (10-20 dancing hours) when determining how many pointe shoes one should bring to a summer ballet intensive.
Prepare for the Environment
Secondly, take into account the location where your summer ballet intensive will be held. In more humid environments, pointe shoes tend to die at faster rates. Considering pointe shoes are essentially made of layers of paper/cardboard and paste, exposing them to hot environments with high levels of moisture in the air will cause them to deteriorate quicker. So, if your summer intensive is located in some of the hotter and more humid areas of the United States, like Florida, Louisiana, or Hawaii, you may want to consider bringing along more pairs of pointe shoes to rotate throughout the intensive.
Photo by Michael Afonso from Unsplash
Dry Out Your Shoes
In addition, it’s helpful to dry out your pointe shoes when you’re not dancing in them to help slow their deterioration. One of the best ways to do this is not to leave your worn pointe shoes in your dance bag after class when you’re not wearing them. This creates a “sauna effect,” exposing your shoes to a stuffy, humid environment that can cause them to break down faster. When you’re not wearing your pointe shoes, take them out of your dance bag, don’t fold them inside one another, and lay them out to dry (it can take pointe shoes 48-72 hours to fully dry out!). When transporting pointe shoes to the studio, putting them in a mesh bag can help them aerate and keep them out of direct sunlight to prevent further deterioration. It’s also important to not leave pointe shoes in a car or any other environment that isn’t climate controlled.
Strategically Use Reinforcing Agents
There are some products you can purchase alongside your pointe shoes that will help extend their shelf life: one of which is Jet Glue. Where to apply Jet Glue varies slightly among dancers; however, the most common placement is on the outside and inside of the shoe’s shank, covering 1.5-2 inches where the arch breaks. Some dancers also put it on either side of the shank and in the box of their shoes. Before applying Jet Glue to your pointe shoes, we recommend consulting with a DWC fitter to see how you can best apply it to maximize the shoe’s support and integrity for your unique needs.
Schedule a Pointe Shoe Fitting
It’s especially important for dancers to touch base with a fitter before and/or during their summer intensives to ensure that they’re taking the best possible pointe shoes and products with them to help them feel supported. To prep for intensives, DWC fitters will ask dancers where their intensives are taking place, how their current shoes are breaking down, whether the intensive is requiring certain pointe shoes, how many pairs of shoes the dancer should bring, and more. DWC fitters can also help evaluate how dancers’ shoes are breaking down, recommend where to apply reinforcement agents like Jet Glue, and make sewing suggestions to help maximize the pointe shoe’s performance. Dancers can also discuss what their intensive workload will look like so fitters can potentially recommend different shoes for different activities, as some loads might require shoes with a harder or softer shank, for example.
Importantly, due to unfavorable supply chain circumstances, stock in some pointe shoe styles is limited. That’s why we recommend that dancers have backup options to assure they have shoes to take with them to the intensives.
Photo by Bruno Horwath from Unsplash
Schedule an Injury Risk Prevention Appointment with a Dance Medicine Specialist
Finally, it’s important that dancers are aware of any potential injury flare-ups that could come up when dancing long hours. For example, master pointe shoe fitter Josephine Lee of ThePointeShop says that issues like tendonitis can flare up during summer intensives because of the added workload on the feet. We recommend visiting a dance medicine specialist before heading to your summer intensive, as specialists can conduct body assessments, analyze what physical challenges you’ve been experiencing, which problems may potentially flare up, and give a specific plan to follow to help mitigate the risk of injury. Check out our dance medical specialists page on our website to find specialists in your area!
Summer intensives can be enriching experiences for dancers of all ages and technique levels. What makes them even more successful for dancers is ensuring that their pointe shoes are in the best condition they can be to support dancers’ feet. Be sure to book your pointe shoe fitting appointments at DWC today. Happy intensive season!
Disclaimer
All content found on the Dancewear Center Website, Instagram, Facebook, Pinterest, and all other relevant social media platforms including: text, images, audio, or other formats were created for informational purposes only. Offerings for continuing education credits are clearly identified and the appropriate target audience is identified. The Content is not intended to be a substitute for professional medical advice, diagnosis, or treatment. Always seek the advice of your physician or other qualified health provider with any questions you may have regarding a medical condition. Never disregard professional medical advice or delay in seeking it because of something you have read on this Website.
If you think you may have a medical emergency, call your doctor, go to the emergency department, or call 911 immediately. Dancewear Center does not recommend or endorse any specific tests, physicians, products, procedures, opinions, or other information that may be mentioned on dancewearcenter.net. Reliance on any information provided by dancewearcenter.net, Dancewear Center employees, contracted writers, or medical professionals presenting content for publication to Dancewear Center is solely at your own risk.
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.
Thriving in Dance College
Becoming a good artist requires a lot of time and is a highly individual process. True art, in its various forms, comes from observing the world, coming to know yourself, and the synthesis between the two. There is no substitute for the hours of training, studying, and absorbing that need to be done in order to hone your craft and distinguish your voice as an individual.
By Hannah Emory, DWC Blog Contributor
The one thing that you have that nobody else has is you. Your voice, your mind, your story, your vision. So write and draw and build and play and dance and live as only you can.
- Make Good Art, Neil Gaiman -
Why dance college?
Becoming a good artist requires a lot of time and is a highly individual process. True art, in its various forms, comes from observing the world, coming to know yourself, and the synthesis between the two. There is no substitute for the hours of training, studying, and absorbing that need to be done in order to hone your craft and distinguish your voice as an individual.
This can be done in an independent way, seeking opportunities as they come along and pursuing your individual goals outside of any formal education. However, dance college can be an environment that is conducive to incubating the artistic process and providing a higher concentration of resources, learning opportunities, and collaborative relationships than one might find independently.
Given, academic institutions have their own challenges in addition to their benefits; not one of them is perfect or will guarantee you the career you envision. Dance college requires a lot of hard work, and not all of it will necessarily be in-line with your individual goals. But it can all lead you places you never would have imagined otherwise.
So, if you want to attend dance college, or have already been accepted into a program, there are certain things that I and my peers propose will help you make the experience richer and more self-explorational. College is a significant commitment of financial resources and, even more precious, a great investment of time and energy. It’s crucial to make the most of it! I hope you find this advice helpful in either starting or continuing your education. It’s a long journey, but it’s worth every step!
Advice for thriving in dance college:
Hannah Emory (@hannah.emory):
Remember, just because you’re different, it doesn’t make you a bad dancer technically or a bad artist aesthetically. You will encounter all kinds of stylistic and training differences while in college, but I encourage you to think of it all as tools in your toolbox, not a statement about what you should be. Especially in contemporary dance, teachers are those who have forged their own path in a discipline full of variety. Think of dance as a language where each mover has their own dialect - there is no right or wrong, just difference, and that’s what makes this artform so wonderful. There are structures you can learn and styles you can emulate, but you have your own unique way of dancing that should be celebrated. Explore it, express it, enjoy it and don’t allow anyone to tell you you’re not legitimate - not even yourself!
Controversially, I encourage you to prioritize your bodily wellbeing and training time over academics. In college, there’s always going to be tests to study for, papers to research, and rubrics to fulfill. But what can never be replaced is your bodily health, mental wellbeing, and this chance to absorb as much as you can about how to actually dance. Everything you will encounter as an academic subject in your course is important fuel for your dance journey, but it’s my opinion that pursuing academics should not take over your ability to dance well and feel great while doing it. If you’re struggling with the academic side of your program, please speak to your course directors and advisors, but don’t lose the joy of dancing in the midst of academic expectations. Grades are for the academy and for now; dancing is for you and for your whole life.
Spend your extra time in the studio to create your own work.
If you are able to book studios out as a student, that’s an invaluable resource! This is your opportunity to begin experimenting and making your own work. You can develop a regular improv practice, make solos, and collaborate with your friends to get well-versed in your choreographic process.
**Bonus points for filming and posting what you make on social media, especially if your goal is to be a performer or choreographer. An easily accessible catalog of your work on Instagram or Youtube gets your name out there to people you may have never met otherwise.**
Educate yourself on and take advantage of the resources your college has on offer beyond the studio space - everything from cameras to sound equipment to students in other courses who may want to work with you on projects. There’s so many opportunities for collaboration, exploration, and experimentation during this time in your life, with the tools you need and people to create with, all in one place.
Alice Gavigan (@alice_gavigan): What’s great about full time training and college is that you get to be truly immersed in dance and you get to study and practice what you love. In this environment, naturally, you want to do your best and go above and beyond what you’ve been asked to do. But, in my experience, this can lead to burnout and unnecessary stress. What helped me was establishing a routine for the week and having time separate from training and assignments. For example, I set aside one evening a week to do some fun self-care and fully relax. Balancing my personal life with my dance training has really helped me to preserve my mental health.
Marcela Pridavkova (@marcela_marar + @ulyogasoc):
During college, stay yourself. You will meet lots of new people with different skill sets and training. You might start comparing yourself to these people, but remember everybody has different strengths and there is something in you that other people will look up to.
Explore and adapt your own style, get to know your best skills and make the most of them, and be aware of your weaknesses and try to work on them.
Do not try to fix everything at once. Instead, set small goals for yourself and do not punish yourself if you don’t achieve the exact result you expected.
Work the best you can but be kind to yourself and others. Treat others the way you wish to be treated.
There will be challenging moments when you will feel like giving up. But stay strong, we have all been there, and it’s hard to be a dancer!
Don’t forget to enjoy it! College years are great, even with all struggles along the way, and you will make some great memories.
Sources:
Disclaimer
All content found on the Dancewear Center Website, Instagram, Facebook, Pinterest, and all other relevant social media platforms including: text, images, audio, or other formats were created for informational purposes only. Offerings for continuing education credits are clearly identified and the appropriate target audience is identified. The Content is not intended to be a substitute for professional medical advice, diagnosis, or treatment. Always seek the advice of your physician or other qualified health provider with any questions you may have regarding a medical condition. Never disregard professional medical advice or delay in seeking it because of something you have read on this Website.
If you think you may have a medical emergency, call your doctor, go to the emergency department, or call 911 immediately. Dancewear Center does not recommend or endorse any specific tests, physicians, products, procedures, opinions, or other information that may be mentioned on dancewearcenter.net. Reliance on any information provided by dancewearcenter.net, Dancewear Center employees, contracted writers, or medical professionals presenting content for publication to Dancewear Center is solely at your own risk.
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.
The Importance of Effective Communication Between Teachers and Students
If you are hurting in any way, be candid! Your health and safety are the number one priority in every situation, though sometimes it may be nerve-wracking to speak up. Be conscious of your value and take care of your body, both on and off of the dance floor. Being sensitive to students' needs and concerns is very important for teachers. Effective communication can be used to communicate the needs of students and teachers alike so that everyone can feel more comfortable and safe at the end of the day!
Advice On Being Candid About Your Health
By Claire Kaskel, DWC Ambassador
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My name is Claire Kaskel and I am one of Dancewear Center’s ambassadors. I have been a competitive dancer for about 9 out of my 17 years. Along with competitive dance comes long hours of rehearsals, classes, competitions, and conventions. And as a young dancer, I have been taught to push through all feelings of tiredness and even physical pain in order to stay training. There have certainly been times when I was not feeling well enough to continue pushing through a long day, but I did not feel safe enough to communicate to my teachers that I was in pain. I was afraid that I would be in trouble for taking a break. However, recently I learned an important lesson on the importance of communication when it comes to injuries.
I was at a competition/convention in March, and my knee injury was really beginning to hurt me. I have a reoccurring injury in my left knee that I initially hurt about two years back. I felt responsible to dance through the pain. I did not feel comfortable telling my teacher that I needed a break from the long hours of dancing to rest and ice my injury. I was afraid of letting her down by not taking a class that I was expected to take. But the more I pushed through classes and continued to dance, the more I realized how much my knee truly needed a break. My teammates agreed that I needed to sit down and ice, as they all noticed my confliction and pain. Eventually, with the support of my friends, I worked up the courage and convinced myself to let my teacher know about my injury and ask her advice on what to do. Her response made me feel so much better. She encouraged me to do whatever was best for myself, including resting, icing, and taping my knee. She even helped me tape it and sat with me to make me feel better. I was so stressed about communicating with my teacher out of fear of getting in trouble, but after I spoke with her, I realized that that was all I needed to do. Having support from my teacher to do what was best for myself truly took all my guilt and fear away. I was no longer afraid, which allowed me to focus on healing and improving my physical health.
This experience taught me the importance of speaking up for yourself and communicating with teachers. For me, this conversation established feelings of safety and care between me and my teacher. From the students’ perspective, it can be nerve-wracking to talk to your teacher about your needs out of fear of letting them down. But this interaction taught me a lot about doing what is best for yourself and how to communicate your needs in an effective and respectful manner. My advice to any other students who have felt the same way and struggled with the same guilt would be as follows:
Practice Honesty
Being consistently honest and candid about your feelings and health is highly important in establishing healthy communication between your teacher and yourself. When everyone is aware of a situation, it helps prevent it from worsening. For example, in my case, keeping my teacher updated about my torn knee helped prevent me from possibly injuring it more. Finding a private space before or after class to educate your teacher on your situation in a calm manner will help display seriousness and overall care for yourself and your training. Teachers will appreciate your honesty and respect and will be more likely to treat you with that same care and respect in return.
Prioritize Your Own Needs
If you are hurting in any way, be candid! Your health and safety are the number one priority in every situation, though sometimes it may be nerve-wracking to speak up. Be conscious of your value and take care of your body, both on and off of the dance floor.
Being sensitive to students' needs and concerns is very important for teachers. Effective communication can be used to communicate the needs of students and teachers alike so that everyone can feel more comfortable and safe at the end of the day!
Disclaimer
All content found on the Dancewear Center Website, Instagram, Facebook, Pinterest, and all other relevant social media platforms including: text, images, audio, or other formats were created for informational purposes only. Offerings for continuing education credits are clearly identified and the appropriate target audience is identified. The Content is not intended to be a substitute for professional medical advice, diagnosis, or treatment. Always seek the advice of your physician or other qualified health provider with any questions you may have regarding a medical condition. Never disregard professional medical advice or delay in seeking it because of something you have read on this Website.
If you think you may have a medical emergency, call your doctor, go to the emergency department, or call 911 immediately. Dancewear Center does not recommend or endorse any specific tests, physicians, products, procedures, opinions, or other information that may be mentioned on dancewearcenter.net. Reliance on any information provided by dancewearcenter.net, Dancewear Center employees, contracted writers, or medical professionals presenting content for publication to Dancewear Center is solely at your own risk.
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.
Whim W’Him’s Olivier Wevers on Equitable Treatment in Dance
One of Whim W’Him’s most important values is putting “people first always,” something that is not always upheld in the dance world. That’s why Olivier shares that ensuring his dancers are well-paid has always been a priority of his. “They are artists…They are highly skilled professionals and they should be paid for that,” he stresses. He started Whim W’Him with the intention of “changing the landscape of how dancers are often abused and exploited,” particularly when it comes to being under-compensated for their work.
A Seattle-Based Director on Eliminating Exploitation in the Dance Scene
Name pronunciation: Ol-i-vee-eh W-eh-vers | Pronouns: he/him
By Madison Huizinga, DWC Blog Editor
Photo by Stefano Altamura
Artists are often left out of larger conversations about equitable treatment and fair pay for workers. Even so, artists are skilled professionals as other laborers are, deserving of comprehensive treatment from companies that are able to secure the funds they need to operate effectively. Whim W’Him Founder and Artistic Director Olivier Wevers is a strong advocate for eliminating exploitative practices in the dance scene, principles he is practicing at the Seattle-based dance company itself. Read on to learn more about Olivier’s dance journey and about Whim W’Him’s mission and plans for its 2022-2023 season. And when purchasing tickets for one of Whim W’Him’s 22-23 shows, use code DWC20 for 20% off your ticket purchase!
Olivier expressed interest in dancing around age six. He can recall arriving at his first dance class wearing thick red wool tights, and immediately feeling out of place. “I actually cried and sat on the piano,” Olivier recalls, laughing. His parents told him that if he cried again, he wouldn’t be coming back to dance class. “I guess I didn’t,” Olivier says.
Around age fourteen, Olivier transferred from a recreational studio to a more professionally-focused one in his hometown of Brussels, Belgium. When he reached about nineteen years old, he began looking for work, moving to the United States for a summer program in Pittsburgh, Pennsylvania. Olivier landed his first job dancing with Columbia City Ballet in South Carolina for a year. He later danced at Royal Winnipeg Ballet for five years, touring around the world for six months out of the year. Olivier finished his dancing career at Pacific Northwest Ballet, where he worked for fourteen years.
Photo by Stefano Altamura
It took a while for Olivier to realize that starting a dance company is what he wanted to do. He had been gaining more choreography opportunities, diving deeper into the creation side of dance. He knew that running a dance company required a lot of hustle - administrative work, fundraising, and more - and he also realized the life of touring and traveling so often became lonely. Olivier desired to not only work with his own dancers but begin developing a vocabulary of dance that was unique. After mulling it over and having some encouragement from friends, Olivier incorporated Whim W’Him in 2009.
Today, Olivier says that Whim W’Him is all about the “creation process,” sharing that the company doesn’t like to place limits on itself by fixating on one topic or genre of focus. “There are so many types of choreographies and ways of working with bodies and I think that’s what we want to embrace,” Olivier says. “It’s really about exploring our human condition.”
One of Whim W’Him’s most important values is putting “people first always,” something that is not always upheld in the dance world. That’s why Olivier shares that ensuring his dancers are well-paid has always been a priority of his. “They are artists…They are highly skilled professionals and they should be paid for that,” he stresses. He started Whim W’Him with the intention of “changing the landscape of how dancers are abused and exploited,” particularly when it comes to being under-compensated for their work.
“The idea behind the company is to re-create a culture that is fighting the [outdated system] that is now widely adopted in this country for contemporary dancers and re-build an environment that is safe, welcoming, and supportive for everyone,” Olivier says.
Fittingly, Whim W’Him dancers are also offered opportunities to exercise creative control when it comes to the work they perform. For example, choreographers featured in Whim W’Him’s upcoming fall program were selected by dancers of the company itself, as a part of the 8th Choreographic Shindig. In a longstanding tradition, after reviewing applications, the dancers themselves have the opportunity to curate the evening performance, exercising their own creative opinions as artists.
In its 2022-2023 season, Whim W’Him is excited to showcase about ten original works across its three live programs in fall, winter, and spring. In addition, in February 2023, Whim W’Him will be collaborating with Early Music Seattle to create a brand new piece.
Photo by Stefano Altamura
In the fall, audiences can expect new creations from Keerati Jinakunwiphat, Dolly Sfeir, and Nicole von Arx on September 9-17, 2022 at Erikson Theater and on September 14, 2022 at Vashon Center for the Arts. In the winter, Whim W’Him will show work by Mike Esperanza, Annabelle Lopez Ochoa, and Olivier Wevers from January 20-31, 2023 at the Cornish Playhouse, January 25, 2023 at Vashon Center for the Arts, and January 31, 2022 at Whidbey Island Center for the Arts. Finally, in the spring, audiences will see work by Emilie Leriche, Olivier Wevers, and Rauf Yasit on May 12-20, 2023 at the Cornish Playhouse, May 17, 2023 at Vashon Center for the Arts, and May 24, 2023 at Whidbey Island Center for the Arts.
All in all, in the next year, Olivier looks forward to seeing Whim W’Him continue to grow as a company and help create an environment for dancers that is “safe, diverse, [and] welcoming.” “We have a lot of change that needs to happen,” Olivier insists, citing more accessible dance education, greater support for BIPOC artists, comprehensive dance media and journalism, and of course, fair pay and eradicated exploitation as changes the dance industry needs to see. He also hopes to see more arts funding on a governmental level, particularly for smaller dance companies, where he believes much of the innovation in dance is occurring.
Become a member with Whim W’Him today or use code DWC20 for 20% off your tickets for one of Whim W’Him’s Season 22-23 shows.
Sources:
Disclaimer
All content found on the Dancewear Center Website, Instagram, Facebook, Pinterest, and all other relevant social media platforms including: text, images, audio, or other formats were created for informational purposes only. Offerings for continuing education credits are clearly identified and the appropriate target audience is identified. The Content is not intended to be a substitute for professional medical advice, diagnosis, or treatment. Always seek the advice of your physician or other qualified health provider with any questions you may have regarding a medical condition. Never disregard professional medical advice or delay in seeking it because of something you have read on this Website.
If you think you may have a medical emergency, call your doctor, go to the emergency department, or call 911 immediately. Dancewear Center does not recommend or endorse any specific tests, physicians, products, procedures, opinions, or other information that may be mentioned on dancewearcenter.net. Reliance on any information provided by dancewearcenter.net, Dancewear Center employees, contracted writers, or medical professionals presenting content for publication to Dancewear Center is solely at your own risk.
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.
How to Make a Ballet Bun
As dancers, we tirelessly strive to improve our technique and artistry in each class. A big part of putting in this work is focusing on the task at hand without distractions. And as any dancer with long locks knows, hair can often be a big distraction! We’ve all been there - constantly tucking falling strands behind our ears, jamming bobby pins into our scalp, trying to re-do our ballet bun in between combinations, the list goes on. Knowing how to do a proper ballet bun can significantly benefit a dancer, as it can keep them focused on their training and performance and not on whether their updo will stay put. Read on to learn DWC’s tips for achieving the perfect ballet bun.
A Guide to the Essential Ballerina Updo
By Madison Huizinga, DWC Blog Editor
Ballet bun at the crown of the head. Photo by Colin Hutton from danceadvantage.net
As dancers, we tirelessly strive to improve our technique and artistry in each class. A big part of putting in this work is focusing on the task at hand without distractions. And as any dancer with long locks knows, hair can often be a big distraction! We’ve all been there - constantly tucking falling strands behind our ears, jamming bobby pins into our scalp, trying to re-do our ballet bun in between combinations, the list goes on. Knowing how to do a proper ballet bun can significantly benefit a dancer, as it can keep them focused on their training and performance and not on whether their updo will stay put.
Let’s run through the basic steps.
Brush or comb your hair free of tangles
Run a hairbrush or comb through your hair several times until it is free of any tangles. Eliminating any knots or tangles in your hair will ensure that your hair looks smooth in the final ballet bun without any large “bumps.” Many dancers choose to use a spray bottle filled with water to achieve an extra smooth look.
Secure your hair in a ponytail at the crown of your head
Gather your hair into a ponytail that sits at the crown of your head (see photo). It’s worth noting that some dancers prefer to part their hair and secure it into a low ponytail at the nape of their neck. This creates what’s referred to as a “low bun.” For those with finer hair, using a hairbrush or comb to help gather your hair into a ponytail can help smooth out any bumps. Secure the ponytail with a hair tie, preferably one that’s a similar color to your hair. Dancers, specifically ones with finer hair, can optionally smooth their hair back with hair gel before this step to help smooth away bumps and flyaways. Many dancers also choose to use a bristle or “smoothing brush” during this step to help with any bumps or flyaways. Using mousse, “hair mascara,” or gel applied with a toothbrush can further enhance this smoothed back ponytail.
Twist the ponytail into a coil and wrap it around the hair tie
Photo of a ponytail at the crown of the head. Photo by Pius Martin from Unsplash.
Twist the hair in your ponytail until it starts coiling in on itself. Wrap it around your hair tie so it forms a spiral-like shape, pinning it with hair pins as you go. The tighter you coil your hair, the better! For dancers with thicker hair, it can be useful to divide the ponytail into two separate sections, twist each section, and coil each one in opposing directions around the hair tie. Twisting your hair into a firm coil will help ensure that the bun stays tightly secure and in place.
Fasten the bun with hair pins and a hairnet
Secure the ballet bun by sticking hair pins into its center, along the bottom base of the bun on the scalp. Angle the pin towards your scalp before shifting the angle upwards into the center of the bun. The more hair you gather in the pin before angling it upwards, into the bun, the flatter the bun will be. At Dancewear Center, we offer two-inch, two-and-a-half-inch, and three-inch hair pins for buns of varying sizes. The hair pin size that a dancer should use depends on the thickness and length of their hair. Also, wrapping a hairnet around the bun helps keep fine, flyaway hair at bay. Before securing the bun with hair pins, simply wrap the hairnet around the bun, making sure that its elasticized edge is tucked towards the bottom of the bun out of view. The hairnet may be wrapped around the dancer’s bun once, twice, or three times depending on the texture of the dancer’s hair and the size of their bun.
Pin back and hairspray any stray hairs
For those with layered and/or fine hair, use bobby pins or snap clips to secure any stray hairs or bangs. As a finishing touch, spray the bun and your scalp with a light coating of hairspray to ensure that the updo is smooth with a clean, finished look.
Bonus tips!
Use a “Bun Builder”
For those struggling to achieve a tall, rounded bun look, use the Bun “Donut” Builder by Bloch. Simply gather your hair into a ponytail, pull the ponytail through the center of the builder, slide the builder to the base of the ponytail, arrange your hair around it, and secure it with a hairnet and hair pins. The Bloch Bun Builder creates a taller, more spherical bun than the classic method, so we suggest using it if you are hoping to achieve that style in particular.
Keep a “hair kit” in your dance bag
It’s always helpful to have extra hair supplies on hand in the case of a hair tie snapping, a hair net snagging, or a bobby pin disappearing out of thin air (it’s crazy how they seem to do that!). The Bloch Hair Kit contains all of a dancer’s hair essentials including two hair nets, fifteen three-inch hair pins, ten two-inch hair pins, six bobby pins, four hair elastics, and a “how-to” guide for the best bun. Plus, it comes in an elegantly packaged pink tin that will be sure to stand out in your dance bag when you’re doing your hair in a hurry. The “Holding It Together” Bun Box from Covet Dance similarly contains hair pins and hair ties, as well as bobby pins, corkscrew spin pins, a bun-making “flower,” and a cute decorative wool bow to offer dancers more hair options.
Photo by Iiona Virgin on Unsplash
Accessorize!
When given permission from your dance instructor, let your personality shine with some fun hair accessories. The dreamy Cloud Scrunchie from Cloud & Victory wraps your bun in a colorful, luminous garment that looks great on your hair and on your wrist. Handmade by local Seattle artist Hayley Maddox, the scrunchies from Lasso Leos come with intricately detailed lace patterns and stitching, sure to stand out in any class. The Fluffy BUNnies Scrunchies from Covet Dance are as fuzzy and adorable as can be, particularly cute on younger dancers. Or adorn your ballerina updo with a classic crochet bun cover from American Dance Supply, offered in a variety of soft colors and with rhinestones.
By following these tips along with a little practice, your ballet bun will be fit for the studio and stage in no time!
Disclaimer
All content found on the Dancewear Center Website, Instagram, Facebook, Pinterest, and all other relevant social media platforms including: text, images, audio, or other formats were created for informational purposes only. Offerings for continuing education credits are clearly identified and the appropriate target audience is identified. The Content is not intended to be a substitute for professional medical advice, diagnosis, or treatment. Always seek the advice of your physician or other qualified health provider with any questions you may have regarding a medical condition. Never disregard professional medical advice or delay in seeking it because of something you have read on this Website.
If you think you may have a medical emergency, call your doctor, go to the emergency department, or call 911 immediately. Dancewear Center does not recommend or endorse any specific tests, physicians, products, procedures, opinions, or other information that may be mentioned on dancewearcenter.net. Reliance on any information provided by dancewearcenter.net, Dancewear Center employees, contracted writers, or medical professionals presenting content for publication to Dancewear Center is solely at your own risk.
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.
Celebrating Vintage Jazz at Sister Kate Dance Company
Sister Kate Dance Company teaches its SKDC Boot Camps in October, January, and April. The Boot Camps offer a chance for anyone to experience what it’s like to be a vintage chorus line dancer. Over the course of four weeks, participants learn original choreography from a Sister Kate dancer, work on their stage presence, connect with other eager and enthusiastic dancers, and even have the chance to perform in front of a live audience. This year’s October boot camp theme is “A Coven of Witches,” so dancers can expect a spooky, Halloween-themed performance opportunity. Tickets for the October 2022 boot camp open on September 1st, and Robin recommends grabbing yours early! Check out Sister Kate’s website and social media for more information.
Robin Nunnally on Promoting Jazz Across Seattle
Name pronunciation: Robin Noon-aul-ee | Pronouns: she/her
By Madison Huizinga, DWC Blog Editor
Photo By Priya Alahan Photography
Jazz is among the many history-rich dance genres widely celebrated throughout the world today. Organizations like Sister Kate Dance Company (SKDC) are making an effort to keep styles like vintage-jazz alive and teach jazz history through SKDC Boot Camps and performances throughout the Seattle area. Read on to learn more about Sister Kate’s mission and the dance journey of Robin Nunnally who is a manager, head choreographer, and original founding member of the company. Be sure to register for Sister Kate’s SKDC Boot Camp for October 2022 on September 1st and keep an eye out for upcoming performances on its social media!
Growing up in a family that enjoyed dancing and theatrics likely primed Robin for the path she’s on now. As a kid, Robin shares that she was obsessed with the dances in musicals like Hairspray, A Chorus Line, and Victor Victoria, explaining she could often be found dancing in front of the television copying the performances. Around age 13, Robin attended a summer theatrics class at a local theater on Bainbridge Island, Washington, where she was first exposed to solo jazz. About a year and a half later, she was introduced to the world of Lindy Hop and swing dance through a friend. “I just kind of dove into it head first and have been obsessed ever since,” Robin says.
The Sister Kate Dance Company was founded in 2006, largely as a result of some female swing dancers feeling like their artistic voices were overshadowed by their male counterparts during choreography sessions. Robin and four of her female peers met together and asked what it might look like if they put together their own solo jazz choreography. The dancers performed their piece at a local event and had an amazing time, prompting them to continue creating for the years to come.
16 years since its founding, Sister Kate now has 26 dancers as core company members and teaches classes to the public several times a year out of the Russian Community Center of Seattle, a community hall ballroom in Seattle, Washington. To date, some of the company’s biggest dance inspirations are Josephine Baker, Debbie Reynolds, Cyd Charisse, The Sepia Steppers, The Rockettes, Ziegfeld Follies, and Busby Berkeley.
Photo By Priya Alahan Photography
Sister Kate Dance Company teaches its SKDC Boot Camps in October, January, and April. The Boot Camps offer a chance for anyone to experience what it’s like to be a vintage chorus line dancer. Over the course of four weeks, participants learn original choreography from a Sister Kate dancer, work on their stage presence, connect with other eager and enthusiastic dancers, and even have the chance to perform in front of a live audience. This year’s October boot camp theme is “A Coven of Witches,” so dancers can expect a spooky, 1930s/1940s Halloween-themed performance opportunity. Tickets for the October 2022 boot camp open on September 1st, and Robin recommends grabbing yours early! Check out Sister Kate’s website and social media for more information.
In addition to its upcoming Boot Camp, Sister Kate is hoping to debut a new routine in November 2022, specifically spotlighting seven new members of the dance company. Before the COVID-19 pandemic, Sister Kate produced an annual jazz cabaret at The Rendezvous and Jewelbox Theater, a venue established in 1932 and one of the few remaining jazz-era stages in Seattle. Unfortunately, the pandemic hit Seattle as Sister Kate was in the process of finalizing work for its annual show. While the show has been on hold for the last couple of years, the company plans to bring it back in spring 2023.
“Our biggest mission is really to inspire women to get up and dance,” Robin shares. One of her favorite things about Sister Kate is the inclusivity of all body sizes, shapes, heights, and ages that participate as company dancers and in their Boot Camp classes. Robin jokes that she often refers to the company as “if The Rockettes didn’t have rules,” pointing out that many members have brightly colored hair and tattoos.
“It’s really cool to have this diverse group of people come together…who all have this interest in celebrating and performing vintage jazz dance,” Robin says. “We kind of break that traditional ‘chorus girl’ mold.” While Sister Kate has traditionally catered towards cisgender women dancers, they prefer to lean into the word “femme” now, offering dancing opportunities to dancers with a wider range of gender identities. She shares that some male-identifying dancers have attended the company’s Boot Camps, which she and the rest of the company welcome and “absolutely love to see.”
“Our biggest mission is really to inspire women to get up and dance.”
Sister Kate Dance Company makes an effort to educate the public and one another about the history of jazz dance, which has roots in Black communities in the early 20th century. “We want to try to honor those creators by continuing to spread the history and our passion for the dance as much as we can,” Robin says, sharing that the company often shares historical footage and knowledge through its social media and blog, as well as through its classes and choreography.
“One of the things that I like about Sister Kate is that as an artistic group, we’ve really evolved and grown over the years,” Robin says, sharing that the company has learned that it’s okay to evolve as it learns more about the dance genre, their audience, and more.
A change that Robin hopes to see in the world of solo jazz and swing dance is more folks looking to the roots of the genre for artistic inspiration, specifically clips of original dancers on YouTube. In the age of the Internet, when everyone has the ability to post just about anything at any time they want, Robin sees value in returning to the original source in history-rich genres like jazz.
Photo By Priya Alahan Photography
As the country enters a new stage of the pandemic, Robin also hopes to see more folks supporting the arts again through ticket purchasing, sharing show information via social media, or donating to local nonprofits. During the pandemic, Sister Kate Dance Company started donating to a handful of local BIPOC arts-focused organizations in the Seattle area, and plans to continue to donate a portion of cabaret ticket sales to local nonprofits, as well.
“I’m really proud of where we are now and I’m really excited for where we’re heading in the future,” Robin says of Sister Kate Dance Company.
Disclaimer
All content found on the Dancewear Center Website, Instagram, Facebook, Pinterest, and all other relevant social media platforms including: text, images, audio, or other formats were created for informational purposes only. Offerings for continuing education credits are clearly identified and the appropriate target audience is identified. The Content is not intended to be a substitute for professional medical advice, diagnosis, or treatment. Always seek the advice of your physician or other qualified health provider with any questions you may have regarding a medical condition. Never disregard professional medical advice or delay in seeking it because of something you have read on this Website.
If you think you may have a medical emergency, call your doctor, go to the emergency department, or call 911 immediately. Dancewear Center does not recommend or endorse any specific tests, physicians, products, procedures, opinions, or other information that may be mentioned on dancewearcenter.net. Reliance on any information provided by dancewearcenter.net, Dancewear Center employees, contracted writers, or medical professionals presenting content for publication to Dancewear Center is solely at your own risk.
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.
What Is a Pointe Shoe?: A Guide to the Advanced Dance Footwear
Dancers often try on many pairs of pointe shoes in their first fitting to ensure that the best fit possible is selected. At DWC, we strive to make out fittings both a fun and educational experience, so dancers can expect to be informed about the different properties of the different shoes they try. Once the best shoe for the dancer is selected, it’s important that students have their teacher approve of them before they begin sewing them.
By Madison Huizinga, DWC Blog Editor
Pointe shoe from Freed of London being made on a last from Business Insider
Dancing “en pointe” is a common phrase in the dance industry. We often hear about prima ballerinas at large companies wearing “pointe shoes” or adolescent dancers working to earn their “pointe shoes.” But what exactly is a pointe shoe?
Pointe shoes are footwear specially designed for experienced dancers to wear to dance on the tips of their toes. In most classical ballets, like The Nutcracker, Swan Lake, and The Sleeping Beauty, you’ll see professional dancers donning pointe shoes onstage. While these dancers appear to glide across the stage in these shoes with ease, it takes years of training to be qualified to dance in them. Importantly, pointe shoes are not meant for beginning dancers who haven’t been cleared to wear them by a professional.
There are many different parts to a pointe shoe:
The Box
The “box” of a shoe is the hard, rectangular area that the toes and top of the feet are inserted into. This part of the shoe is made by applying layers of paper/cardboard and paste to a “last”: the mold that a pointe shoe is made on.
The Shank
The “shank” of the pointe shoe is the section that runs lengthwise across the bottom of the foot that helps support the foot’s arch. The shank is made out of leather and other composite materials. Added after the box is made, the shank is attached to the pointe shoe through a nailing and gluing process. Before the pointe shoe is sent to retailers and consumers, the maker will hammer and smooth out the box and finalize it by sewing on a drawstring and, in some cases, adding pleats.
The Crown
The “crown” of the shoe, otherwise known as the shoe’s “profile” or height when viewed from the side. Some pointe shoe profiles are graded, flat, or round, all of which impact how the dancer uses the shoe en pointe.
The Platform
The “platform” of the pointe shoe refers to the hard, flat surface at the tip of the shoe upon which the dancer balances.
The Vamp
The “vamp” of the pointe shoe refers to the length from the platform to the opening or “throat” of the shoe. Vamps can be “high” meaning there is a longer length from the platform to the throat of the shoe, and others can be “low” meaning there is a shorter length. Some vamps are U-shaped and others are V-shaped, and some have elasticized satin while others don’t.
The Wings
The “wings” of a pointe shoe are an extension of the vamp that provide support along the sides of the dancers’ feet. Some wings are high, meaning they extend further along the sides of dancers’ feet, and others are lower, meaning they don’t extend as far. Some wings are more collapsible and some are harder, some are rounded and some are straight.
The Drawstring & Casing
The drawstring, often made of either cotton or elastic, passes through the binding around the pointe shoe and ties at the top of the vamp. The drawstring casing is a piece of material stitched around the edge of the pointe shoe containing the drawstring. Pointe shoes with a drawstring and casing often have a U-cut style. Other pointe shoes may have no drawstring and instead, have an elasticized casing that fits snug around the foot. And other pointe shoes may have a V-cut style vamp and have no drawstring at all.
Photo from Inspirations Dancewear
The Waist Seam & Heel
The waist seam of a pointe shoe is a seam that joins the front and the back of the pointe shoe together. The heel of a pointe shoe can be structured or loose, wide or tapered, made of special stretch satin, made with structured, double-backed satin, and sometimes feature a “heel cup” designed to provide structure and create a seamless look.
Getting Fitted for Pointe Shoes
Getting fitted for pointe shoes is not like getting fitted for street shoes. Across the vast amount of pointe shoe brands available, there are a variety of styles that have different qualities. In addition, when fitting pointe shoes, fitters don’t just account for the length of a dancer’s foot, but also the width of their feet, the strength and flexibility of their feet, their toe shape and length, their heel shape, their foot profile, training experience, current dance goals, previous and current injuries, medical conditions, and more! All of these factors will influence what shoe the dancer ultimately ends up with.
In addition, getting properly fitted for pointe shoes requires the expertise of pointe shoe fitters. Pointe shoe fitters at Dancewear Center participate in required continuing education on a weekly, monthly, and quarterly basis, and have been trained in an array of professional fitting methods, including those from Bloch, Russian Pointe, So Danca, and most recently, the Progressive Pointe Method from ThePointeShop. There are a variety of factors our fitters consider when fitting dancers for pointe shoes, like making sure the dancer is over the shoe’s box, making sure the shank is providing adequate support, making sure they aren’t “sinking” or sitting in the shoe, and much more.
How To Prepare for your First Pointe Shoe Fitting with DWC
Get Assessed for Pointe Readiness
If you’re a student, you should be approved by your dance teacher to get fitted for pointe shoes or demi-pointe shoes before coming to Dancewear Center. If not trained under the guidance of a professional, dancing in pointe shoes can be a dangerous experience. Here at DWC, we also love fitting adults who wish to train en pointe or those returning to dancing en pointe. Many studios in the Seattle area offer classes for adults, including Dance Conservatory Seattle, Dance Fremont, American Dance Institute, Second Act Dance, ARC Dance, Westlake Dance Center, and more. We recommend that adults interested in dancing en pointe get assessed by a physical therapist for pointe readiness. Check out our dance medicine specialist page for information about dance specialists in the Seattle area.
Book a Pointe Shoe Fitting
Expert pointe shoe fitting teams require dancers to make an appointment. If a dancer arrives without an appointment, they will be assisted in scheduling one for a later date. Appointments can be booked through DWC’s website for our Kirkland or Renton locations, and group or mobile fittings can be requested by emailing info@dancewearcenter.net. It’s important that dancers allot around 45 minutes for their first appointment with DWC to allow for a thorough assessment and fitting process. Pointe shoe fittings are subject to a $25 service fee that is waived with the purchase of pointe shoes, and late arrivals will be charged the $25 fitting fee and asked to reschedule at a later time.
Prior to Your Fitting
Prior to their appointment, dancers will be sent information about what to expect and how to prepare for their appointment. Dancers should make sure their feet are clean and toenails are trimmed - we recommend trimming toenails two days before their appointment. Dancers should also wear transition/convertible tights to their fitting and bring the most recent pair of pointe shoes and the padding they normally wear with them. For more information, dancers and parents can also check out this pointe shoe fitting informational page on DWC’s website and this informational video on our YouTube page.
During the Fitting
At the beginning of a dancer’s first fitting, dancers will be greeted by one of our knowledgable pointe shoe fitters who will give dancers an overview of the fitting process. The fitter will ask questions and take notes about previous pointe shoes, injuries, current training, and much more, as well as take a visual assessment of the dancer’s bare feet. This will allow the fitter to have a better understanding of what types of pointe shoes they should pull for dancers to try on and the padding they suggest. For example, for dancers who have bunions and experience bunion pain, our fitters may advise them to use a silicone gel spacer and to see a physical therapist who specializes in dance medicine. Also, dancers will often be advised to wear padding like “Ouch Pouches,” made from gel and polyester upon their first fitting.
After the feet are assessed and additional equipment is administered, it’s time for the fun part: trying on the shoes! Notably, pointe shoes fresh out of the package have no elastic or ribbon attached. Elastics and ribbons will need to be purchased separately, as well as a sewing kit for dancers to sew them on themselves.
Dancers often try on many pairs of pointe shoes in their first fitting to ensure that the best fit possible is selected. After trying on many pairs, the fitter and dancer will narrow down the best final options. The dancer will be asked a lot of questions to ensure that the best possible shoe is selected. At DWC, we strive to make our fittings both a fun and educational experience, so dancers can expect to be informed about the different properties of the various shoes they try. Once the best shoe for the dancer is selected, it’s important that students have their teacher approve of them before they begin sewing them.
Following their appointment, dancers will receive a follow-up email reminding them that the DWC fitters are available at any time after the fitting to answer questions about their shoes. The DWC staff also keeps records of dancers' preferred pointe shoes and sizes to provide more information for future refittings.
Important Reminders
Pointe shoes only last 10-20 dancing hours on average. To help prolong the life of pointe shoes, it’s important to give them the opportunity to dry out in between wears, which takes up to 48-72 hours. Storing and transporting pointe shoes in mesh bags can aid with the drying process as well as help alleviate their sweaty smell. It’s also important to remember to keep pointe shoes out of the reach of pets!
We recommend that dancers schedule refitting appointments for their first 2-3 pairs of shoes and every six months after that or if they’re experiencing issues with their shoes. Refittings are important, as dancers’ feet can change drastically after dancing en pointe. At pointe shoe refittings, fitters will take a look at the dancer’s old pair of pointe shoes to analyze how they’re breaking down to figure out how the dancer’s needs have changed since their first fitting. The fitters will have a conversation with the dancer about their shoes, asking what they liked and disliked about them and what their typical experience in the shoe was like.
Working consistently with a professional fitter throughout a dancer’s journey is essential for ensuring that dancers are performing their best and are in the shoes that fit their needs best at that time. The pointe shoe industry is rapidly innovating and DWC fitters are constantly working to improve their skillset by involving themselves in continuing education, learning about the latest medical research and technology, and more. Dancers can feel confident that they are in good hands with DWC fitters.
This is just the tip of the iceberg when it comes to pointe shoes! But we hope it provides you with a solid baseline of knowledge about the complex and exciting world of pointe shoes. Book your pointe shoe fittings with Dancewear Center today here!
Sources:
https://www.pbt.org/learn-and-engage/resources-audience-members/ballet-101/pointe-pointe-shoes/
https://www.businessinsider.com/what-its-like-ballet-pointe-shoe-maker-freed-of-london-2021-6
https://dancewear-center.myshopify.com/products/super-spacers-cap?_pos=3&_sid=f912ccba0&_ss=r
https://dancewear-center.myshopify.com/products/ouch-pouch-jr-large-cap?_pos=6&_sid=61d304c77&_ss=r
https://www.rpcollection.com/perfect-fit/finding-your-perfect-fit/pointe-shoe-drawstring/
https://creativeartsacademyutah.wordpress.com/for-dancers/learn-reflect/pointe-shoe-anatomy/
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