If you want to lose a little weight, I recommend that you cut back on all the empty carbs you may be eating. Bread, pastas, crackers, buns, cereals and potatoes. However, you must not go hungry, and you must eat enough proteins, vegetables, salads, fruits, and healthy fats.
You don't want to lose any muscle mass, or visceral fat - the fat that protects your organs. Some dancers weigh too little - oh yes.
Here are some tips to keep this all in a healthy perspective:
How To Lose Some Weight and Keep It Off this article has a link to protein calculator;
What Ballet Dancers Need To Understand About Weight Loss and Calories
What Is Your Protein Requirement
Learning To Develop Lean Muscles
Healthy Fats For Ballet Dancers
Showing posts with label ballet dancers. Show all posts
Showing posts with label ballet dancers. Show all posts
Wednesday, June 30, 2010
Wednesday, March 17, 2010
Spotting For Pirouettes Correctly
Spotting is the technique used by ballet dancers to avoid dizziness while doing multiple turns. In ballet classes, and in theaters, dancers will find a "spot" that they can see, and upon which they will focus throughout, for example, the 32 fouettes performed in Swan Lake by the ballerina, or a series of turns a la seconde by the male dancer.
When you reach the point in ballet training where turns are added to your class exercises, often spotting will be taught first.
Imagine a child spinning, just for the joy of it. Children will do this until they are too dizzy to stay upright, and then they will collapse. In the dance studio, the same playful spin can be done. With one difference.
Choosing a spot on the wall, which could be a picture of a famous ballerina, or whatever decoration the dance teacher may have chosen to inspire her/his students, a dance student can spin while focusing on the spot.
In slow motion, as the dancer spins away from the front, or corner of the studio as it may be, she or he leaves their head behind, focusing on the spot. At the last possible moment, the dancer whips the head around to regain focus before the body reaches the front again.
That is spotting. Within the requirements of ballet technique a few points are added.
The head must not incline. The entire body posture of a retire position, or an a la seconde position, must not be influenced by the head staying behind to remain focused on the spot. Same for a turn in arabesque or attitude.
Usually, chainee turns are the first ones learned. Remaining in first position, the entire body position must be held while the dancer spots.
This achievement then assumes that the core and turnout muscles are well held. The arms remain in a fifth en avant or slightly over - crossed position, and the NECK IS RELAXED, allowing the head to spot, without inclination.
A modern, jazz or hip hop dancer does the same.
Image: many years ago I watched Helgi Thomason give dancer Victor Edwards a correction in class. He said something like "imagine your body is spinning underneath your head, which just stays looking at the front".
That's spotting.
Every dancer needs to accomplish proper spotting before dancing in pointe shoes. The most subtle errors in posture, turnout, and basic ballet positions will be exaggerated once you are en pointe.
Be prepared for dancing in pointe shoes by getting a professionally written guide specific for pointe shoe exercises.
When you reach the point in ballet training where turns are added to your class exercises, often spotting will be taught first.
Imagine a child spinning, just for the joy of it. Children will do this until they are too dizzy to stay upright, and then they will collapse. In the dance studio, the same playful spin can be done. With one difference.
Choosing a spot on the wall, which could be a picture of a famous ballerina, or whatever decoration the dance teacher may have chosen to inspire her/his students, a dance student can spin while focusing on the spot.
In slow motion, as the dancer spins away from the front, or corner of the studio as it may be, she or he leaves their head behind, focusing on the spot. At the last possible moment, the dancer whips the head around to regain focus before the body reaches the front again.
That is spotting. Within the requirements of ballet technique a few points are added.
The head must not incline. The entire body posture of a retire position, or an a la seconde position, must not be influenced by the head staying behind to remain focused on the spot. Same for a turn in arabesque or attitude.
Usually, chainee turns are the first ones learned. Remaining in first position, the entire body position must be held while the dancer spots.
This achievement then assumes that the core and turnout muscles are well held. The arms remain in a fifth en avant or slightly over - crossed position, and the NECK IS RELAXED, allowing the head to spot, without inclination.
A modern, jazz or hip hop dancer does the same.
Image: many years ago I watched Helgi Thomason give dancer Victor Edwards a correction in class. He said something like "imagine your body is spinning underneath your head, which just stays looking at the front".
That's spotting.
Every dancer needs to accomplish proper spotting before dancing in pointe shoes. The most subtle errors in posture, turnout, and basic ballet positions will be exaggerated once you are en pointe.
Be prepared for dancing in pointe shoes by getting a professionally written guide specific for pointe shoe exercises.
Thursday, March 5, 2009
How to Tell What Makes You Fat
If you are a ballet dancer, or thinking of becoming a ballerina or a man in ballet, or any other style of dancer, you have probably not escaped the thought of what makes you fat.
This one thought in and of itself is an occupational hazard in the realm of dance training. So how do you tell what makes you fat?
This quick video gives a good demonstration of what makes you fat.
The idea that eating fats will make you fat is a basic mistake.
For most people, excess insulin makes them fat and not the fat itself.
Where does excess insulin come from?
At what age are you susceptible to be cursed with excess insulin?
Whether you are ten years old or an adult, you need to understand what the glycemic index is. It's not too difficult a thing to learn.
You eat carbohydrates, meaning starches such as bread, crackers, rice, corn and potatoes.
These foods release sugars into your system and keep your bodies going.
Processed carbohydrates, like cereal from boxes, flour products, candy bars, power bars, digest as sugars that get dumped into your bloodstream fairly quickly.
In order to regulate your insulin levels, make sure that you are eating foods from the lower end of the glycemic.
This pretty well eliminates fast foods and junk foods.
Complex carbohydrates such as multi-grain sprouted breads, beans and legumes, as examples, are foods that are not processed.
They are left alone to be eaten as nature made them.
They are full of vitamins and minerals and digest with the sugars releasing more slowly into your system.
This requires less insulin to regulate the sugar levels in your blood.
When you eat processed carbohydrates that transform quickly into sugars, more insulin is needed to regulate your blood sugar.
Eventually your body gets used to the high insulin levels, and ignores the insulin.
This is called insulin resistance. Once you advance into this stage of metabolism, it is much easier to gain weight, and much harder to lose weight.
A couple of decades ago, this was considered a middle-aged condition, or an elderly condition, leading to Adult Onset Diabetes. Not any more!
Notice the word fat has nothing to do with any of this!
You may have heard someone lamenting "I have slow metabolism, so I cannot stay thin!".
This is a result of eating the wrong sugars, not from eating fat.
White sugar used to be the no-no.
Now it is high fructose corn syrup, which overwhelms our bodies and makes us crave more carbs.
Even worse, the calorie-free artificial sweeteners also make us crave carbs!
Is this some kind of trap?
Let's get back to fats, which are present in fresh, unprocessed, real foods made by nature. Meats, fish, vegetables, nuts, seeds, dairy products, eggs, and oils.
FATS!
"Essential fatty acids, in a ratio of two (omega 3) to one (omega 6) and at levels of about twelve to fifteen percent of total caloric intake, increase the rate of metabolic reaction in the body. This increased rate burns more fat into carbon dioxide, water and energy (heat), which results in fat burn-off and a loss of excess weight."
- Udo Erasmus, author of "Fats That Heal Fats That Kill".
You mean you can eat food that "results in fat burn-off and a loss of excess weight"?
That is what Erasmus, and other doctors such as Al Sears, state.
Dr Atkins of the Atkins Diet fame spread the same information.
For ballet and other dancers who need a high energy supply, regeneration of muscle mass on a daily basis, and endurance for performances, it is good to know how to tell what makes you fat, and what makes you strong.
Stay well! Read more about healthy omega oils.
This one thought in and of itself is an occupational hazard in the realm of dance training. So how do you tell what makes you fat?
This quick video gives a good demonstration of what makes you fat.
The idea that eating fats will make you fat is a basic mistake.
For most people, excess insulin makes them fat and not the fat itself.
Where does excess insulin come from?
At what age are you susceptible to be cursed with excess insulin?
Whether you are ten years old or an adult, you need to understand what the glycemic index is. It's not too difficult a thing to learn.
You eat carbohydrates, meaning starches such as bread, crackers, rice, corn and potatoes.
These foods release sugars into your system and keep your bodies going.
Processed carbohydrates, like cereal from boxes, flour products, candy bars, power bars, digest as sugars that get dumped into your bloodstream fairly quickly.
The higher a food resides on the glycemic index, the faster it will release its sugars.
In order to regulate your insulin levels, make sure that you are eating foods from the lower end of the glycemic.
This pretty well eliminates fast foods and junk foods.
Complex carbohydrates such as multi-grain sprouted breads, beans and legumes, as examples, are foods that are not processed.
They are left alone to be eaten as nature made them.
They are full of vitamins and minerals and digest with the sugars releasing more slowly into your system.
This requires less insulin to regulate the sugar levels in your blood.
When you eat processed carbohydrates that transform quickly into sugars, more insulin is needed to regulate your blood sugar.
Eventually your body gets used to the high insulin levels, and ignores the insulin.
This is called insulin resistance. Once you advance into this stage of metabolism, it is much easier to gain weight, and much harder to lose weight.
A couple of decades ago, this was considered a middle-aged condition, or an elderly condition, leading to Adult Onset Diabetes. Not any more!
Notice the word fat has nothing to do with any of this!
You may have heard someone lamenting "I have slow metabolism, so I cannot stay thin!".
This is a result of eating the wrong sugars, not from eating fat.
White sugar used to be the no-no.
Now it is high fructose corn syrup, which overwhelms our bodies and makes us crave more carbs.
Even worse, the calorie-free artificial sweeteners also make us crave carbs!
Is this some kind of trap?
Let's get back to fats, which are present in fresh, unprocessed, real foods made by nature. Meats, fish, vegetables, nuts, seeds, dairy products, eggs, and oils.
FATS!
"Essential fatty acids, in a ratio of two (omega 3) to one (omega 6) and at levels of about twelve to fifteen percent of total caloric intake, increase the rate of metabolic reaction in the body. This increased rate burns more fat into carbon dioxide, water and energy (heat), which results in fat burn-off and a loss of excess weight."
- Udo Erasmus, author of "Fats That Heal Fats That Kill".
You mean you can eat food that "results in fat burn-off and a loss of excess weight"?
That is what Erasmus, and other doctors such as Al Sears, state.
Dr Atkins of the Atkins Diet fame spread the same information.
For ballet and other dancers who need a high energy supply, regeneration of muscle mass on a daily basis, and endurance for performances, it is good to know how to tell what makes you fat, and what makes you strong.
Stay well! Read more about healthy omega oils.
Tuesday, January 6, 2009
A Chiropractor's Role With Neck Pain and Stiffness in Ballet Training
A Chiropractor's Role With Neck Pain and Stiffness in Ballet Training
Ballet training can bring on pain and stiffness that does not go away in the muscle recovery period, which is rarely sufficient. Once a pattern of tension is established, a ballet dancer must follow a specific routine to reverse the harmful trend before arthritis sets in.Neck pain, back pain, and unresolved muscle tension will lead to ballet injuries if left untreated.
When a ballet dancer's core muscles are weak, or when a dancer is working an intense schedule without enough recovery time, where does the strain go? Often to the neck and shoulders.
Ballet dancers (and other style dancers) will typically work with increasing tension and strain, aching muscles, and mild pain, until the condition develops to the point of an acute and sharp neck pain.
They will start to feel an extreme stiffness of their neck, having difficulty moving it in any direction. When the pain reaches its worst level, it might be accompanied by shooting pain down into both shoulders and perhaps even to the elbows.
This kind of discomfort may develop very gradually, so there is not necessarily personal neglect involved. Usually the pain is less in the morning, although the stiffness is noticeable. With additional time and attention given to warming up the neck and upper back, a good part of a heavy rehearsal day, starting with class, could be danced well with tolerance of the discomfort.
Most likely, however, as the day goes on, the pain increases, often described as a "stabbing pain", with certain movements. The neck stiffness can return despite the dancer being warmed up. The strain becomes visible to others, watching or coaching.
At this point a dancer will be forced to take time out to seek professional help. Upon examination by a chiropractor, for example, it will be found that the back of the neck and mid back muscles are in tight spasm.
The muscles under the chin may be in spasm as well, holding the head at a downward angle. The dancer easily understands that he/she has made this condition worse by working with the head not centered over the shoulders.
(When the postural plumb line is violated in any way, extra muscle gripping will show up, as the body always finds a way to compensate and "balance" itself).
What is alarming is that, by viewing an x-ray of this kind of neck, it can be seen that the normal curve is not only decreased, but has reversed!
And, quite distressing news to a young ballet dancer, the front of the middle neck bones may be severely degenerated, because of the chronic pressure on the front of them.
This curve reversal is all too common among classically trained dancers. Traditional ballet positions demand that the neck appear tall and straight. Although no harm is intended, the muscles along the front of the neck get stronger and stronger.
This development straightens the neck bones, and continues through the years of training, until the normal curve reverses. The front of the neck bones actually start to grind, and gradually arthritis sets in.
The goal of chiropractic care would be to re-mobilize the neck bones that are locked in spasm, along with releasing the chronic tension of the shoulder and upper back muscles.
Early treatment can prevent the development of the reversed curve, and eventual arthritis. The tight neck muscles can be relaxed and stretched, relieving the compression that reduces the natural curve.
Massage, machine traction and a supportive pillow for sleeping can all contribute to chiropractic treatment, countering the harmful tendencies that have become a habit for the ballet dancer.
The neck of a ballet dancer can be held in a tall and slightly straightened position without leading to harm.
All ballet students need to understand how to relax and stretch properly, as well as how to strengthen the core muscles to prevent neck strain and back pain.
Take a look at this video about a simple neck exercise. If you want to do it, ask your chiropractor what she/he thinks about it, first.
Education will prevent ballet dance injuries.
Strengthening the abdominal muscles helps every aspect of ballet. It will certainly help a dancer to work with a more relaxed neck.
A related article: How To Get Abs Exercises Right For Ballet.
Deborah Vogel has posted more about this topic. Click here, click on the blog button at the top, and find the post - it is illustrated and you'll see a straight dancer's neck.
If corrected, this neck will not proceed to the reverse curve condition.
D. Buxton is a writing partner with Vone Deporter, of The Sedona Series, about a surfer girl in pointe shoes.
Follow us on Pinterest!
Thursday, November 20, 2008
Many Nutcracker Versions Are Loved By Ballet Fans Around The World
Professional ballet dancers typically work through the holidays performing one of the Nutcracker versions, up to ten ballet performances a week. If you are a ballet student rehearsing for your local Nutcracker, get those pointe shoes ready! Always have an extras pair broken in and ready to go. If you are a ballet fan, get your Nutcracker tickets now. Check for group and student rates at your theaters, and consider giving Nutcracker tickets for holiday gifts.
The Nutcracker ballet versions that we can see now have developed from a rich history. The Nutcracker began as a somewhat dark story of magic, a fairy tale that we might not choose for our young children. Originally, Clara was a doll of the central character Maria. She came alive and helped the wounded Nutcracker doll who had engaged in heavy combat wit the Mouse King.
Tchaikovsky used some contemporary music, a popular children's song, as well as a contemporary song people played or sang as party guests departed for home. The full Nutcracker score that we know now developed in stages.
Anna Pavlova's Company performed a version of Nutcracker in 1915, choreographed by Ivan Clustine, called "Snowflakes". The Bolshoi Ballet presented a version of the ballet in 1919, choreographed by
Alexander Gorsky.
The Kirov Ballet's first Nutcracker version was presented 1929, and outside of Russia, the Vic-Wells Ballet produced the first English version in 1934, choreographed by Nicholas Sergueyev.
Lew Christensen is responsible for the first full-length American version of the Nutcracker, opened by the San Francisco Ballet, in 1954.
There are approximately 30 more professional full length versions of the Nutcracker that have endured through ballet history.
The magical character of Uncle Drosselmeyer has been portrayed in many imaginative ways. In some versions he is a character part with little dancing. In one version he is a tap dancer!
Many versions of the Nutcracker on DVD, are available to children everywhere.
The Nutcracker music, the lush costumes and sets, and the magic, has kept audiences entertained for generations. And, naturally, the Nutcracker has contributed to developing ballet audiences, as it is often the first ballet children see, and many are hooked for life.
http://www.balletmet.org/Notes/NutHist.html is a link taking you to the finer details of Nutcracker history.
Scampering mice, Snowflakes in pointe shoes, lights, music and magic - there are many Nutcracker versions for ballet dancers and ballet fans. Enjoy!
To browse ballet DVDs look here.
The Nutcracker ballet versions that we can see now have developed from a rich history. The Nutcracker began as a somewhat dark story of magic, a fairy tale that we might not choose for our young children. Originally, Clara was a doll of the central character Maria. She came alive and helped the wounded Nutcracker doll who had engaged in heavy combat wit the Mouse King.
Tchaikovsky used some contemporary music, a popular children's song, as well as a contemporary song people played or sang as party guests departed for home. The full Nutcracker score that we know now developed in stages.
Anna Pavlova's Company performed a version of Nutcracker in 1915, choreographed by Ivan Clustine, called "Snowflakes". The Bolshoi Ballet presented a version of the ballet in 1919, choreographed by
Alexander Gorsky.
The Kirov Ballet's first Nutcracker version was presented 1929, and outside of Russia, the Vic-Wells Ballet produced the first English version in 1934, choreographed by Nicholas Sergueyev.
Lew Christensen is responsible for the first full-length American version of the Nutcracker, opened by the San Francisco Ballet, in 1954.
There are approximately 30 more professional full length versions of the Nutcracker that have endured through ballet history.
The magical character of Uncle Drosselmeyer has been portrayed in many imaginative ways. In some versions he is a character part with little dancing. In one version he is a tap dancer!
Many versions of the Nutcracker on DVD, are available to children everywhere.
The Nutcracker music, the lush costumes and sets, and the magic, has kept audiences entertained for generations. And, naturally, the Nutcracker has contributed to developing ballet audiences, as it is often the first ballet children see, and many are hooked for life.
http://www.balletmet.org/Notes/NutHist.html is a link taking you to the finer details of Nutcracker history.
Scampering mice, Snowflakes in pointe shoes, lights, music and magic - there are many Nutcracker versions for ballet dancers and ballet fans. Enjoy!
To browse ballet DVDs look here.
Friday, March 14, 2008
Controlling Weight - News For Retired Dancers and Athletes
A study that appears in the February 6th issue of Cell Metabolism was conducted with Myomouse - a mouse type that was genetically engineered to produce Muscle II fibers. The kind he would have built using barbells, or in the slower press up type of pointe shoe exercises. The resulting gene adaptions showed that his chemistry could then reverse fatty liver disease, insulin resistance and other aging conditions.
"The researchers found that the "genetically reprogrammed" mice lost fat and showed other signs of metabolic improvement throughout the body. What's more, those benefits were seen even though the mice continued eating a diet high in both fat and sugar and didn't increase their physical activity at all."
"Slow Burn" by Frederick Hahn cites a testimonial by an M.D., who states that he reversed his Type II Diabetes by the Slow Burn fitness regimen. That is pretty exciting.
Teenagers who have tendency to gain weight to the point of obesity should look into this. Insulin resistance (leading to Type II Diabetes) can start at any age, if the diet is bad enough. That means overloaded with empty carbs that mess up the blood sugar regulation.
(I'm not suggesting that you should add Slow Burn to your ballet exercises or sports so that you can eat fat and sugar.)
Retired dancers and athletes often find that with a healthy diet for controlling weight, muscle mass is lost and fat slowly appears, despite disciplined work. The study with the "myomouses" showed that more muscle II fibers were lost than muscle I fibers. Muscle II fibers are the ones that give the body cues to - well, oversimplifying - stay young!
Even if we could be genetically reprogrammed for this, doing a slow motion type of exercise may be in our better interest. However, I am amazed at the progression of science in this direction, and hope that the results will be shared with, and available to everyone.
I've also become aware recently of The Pace Program (TM) by AL Sears M.D., which also changes the way the body metabolizes.
http://www.sciencedaily.com/releases/2008/02/080205121740.htm is where you can read about the Myomouse study. The details are extremely interesting.
So if you've hung up your ballet shoes and pointe shoes, or other atheletic gear, simulate genetic reprogramming with Slow Burn exercise. Build strength, and work on controlling weight with optimum results.
Go here for "Slow Burn" in the book section. It is an amazing read.
"The researchers found that the "genetically reprogrammed" mice lost fat and showed other signs of metabolic improvement throughout the body. What's more, those benefits were seen even though the mice continued eating a diet high in both fat and sugar and didn't increase their physical activity at all."
"Slow Burn" by Frederick Hahn cites a testimonial by an M.D., who states that he reversed his Type II Diabetes by the Slow Burn fitness regimen. That is pretty exciting.
Teenagers who have tendency to gain weight to the point of obesity should look into this. Insulin resistance (leading to Type II Diabetes) can start at any age, if the diet is bad enough. That means overloaded with empty carbs that mess up the blood sugar regulation.
(I'm not suggesting that you should add Slow Burn to your ballet exercises or sports so that you can eat fat and sugar.)
Retired dancers and athletes often find that with a healthy diet for controlling weight, muscle mass is lost and fat slowly appears, despite disciplined work. The study with the "myomouses" showed that more muscle II fibers were lost than muscle I fibers. Muscle II fibers are the ones that give the body cues to - well, oversimplifying - stay young!
Even if we could be genetically reprogrammed for this, doing a slow motion type of exercise may be in our better interest. However, I am amazed at the progression of science in this direction, and hope that the results will be shared with, and available to everyone.
I've also become aware recently of The Pace Program (TM) by AL Sears M.D., which also changes the way the body metabolizes.
http://www.sciencedaily.com/releases/2008/02/080205121740.htm is where you can read about the Myomouse study. The details are extremely interesting.
So if you've hung up your ballet shoes and pointe shoes, or other atheletic gear, simulate genetic reprogramming with Slow Burn exercise. Build strength, and work on controlling weight with optimum results.
Go here for "Slow Burn" in the book section. It is an amazing read.
Subscribe to:
Posts (Atom)