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.
Thursday, November 20, 2008
Sunday, November 16, 2008
Prevent Ballet and Dance Injuries in Your Nutcracker Season
Learning how to minimize the chance of dance injuries is an acquired skill. Warming up, having healthy snacks in your dance bag, and perhaps having an extra pair of pointe shoes ready to wear, will help you avoid ballet injuries.
Rehearsal schedules intensify as the Nutcracker season approaches. Everyone wants to do their best.
Muscle aches and pains after classes and rehearsals should not be ignored. Soaking sore and exhausted muscles in epsom salt baths, ( a form of magnesium) elevating your legs while sitting, and using a pinkie ball to rid your muscles of tension is exactly what your muscles deserve.
Knee injuries, sprained ankles and shin splints all result from inaccurate technique, that do not necessarily show up until dance schedules intensify. A little fatigue, emotional distractions, anxiety, poor sleep or poor diet all contribute to that moment of error or mis-timing when an accident happens.
Fresh foods are necessary to keep your strength up. Sugar weakens muscles and also contributes to inflammation. Do your best to eat well. Magnesium is a nutrient that helps relax muscles and can lead to better sleep. Green vegetables and salad foods are full of trace minerals that help carry lactic acids and other cellular wastes out of tired muscles. Lean proteins, and whole grain carbohydrates will put more nutritional support in your diet.
Dance medicine specialist and author Deborah Vogel writes:
"Four Warning Signs of an Injury
* Pain that gets progressively worse during class, rehearsal, work out, etc.
* Pain that comes after your class, rehearsal, or work out, and comes back the next day after less movement is done.
* Pain that appears when executing certain movements (e.g. during arabesque or landing a jump).
* No real sense of "pain" but a definite restriction of movement."
Pay attention to your body's signals. Ice tired and tense muscles even if they don't hurt. Take some deep breaths when you sit down to relax, or when you go to bed. Use a pinky ball to ease out tension, then do some very gentle stretching afterwards. Have a real day of rest, and catch up with non-dance activities.
Even when you are a recreational dance student, you get the most out of it if you act like pro. Ask your family graciously for extra help or rest time that you need, and let them know how much you appreciate their support.
This way you will really get to enjoy your experience of performing in ballet shoes and pointe shoes.
Read more about injury prevention, strength for pointe work, and muscle care at The Ballet Store.
Rehearsal schedules intensify as the Nutcracker season approaches. Everyone wants to do their best.
Muscle aches and pains after classes and rehearsals should not be ignored. Soaking sore and exhausted muscles in epsom salt baths, ( a form of magnesium) elevating your legs while sitting, and using a pinkie ball to rid your muscles of tension is exactly what your muscles deserve.
Knee injuries, sprained ankles and shin splints all result from inaccurate technique, that do not necessarily show up until dance schedules intensify. A little fatigue, emotional distractions, anxiety, poor sleep or poor diet all contribute to that moment of error or mis-timing when an accident happens.
Fresh foods are necessary to keep your strength up. Sugar weakens muscles and also contributes to inflammation. Do your best to eat well. Magnesium is a nutrient that helps relax muscles and can lead to better sleep. Green vegetables and salad foods are full of trace minerals that help carry lactic acids and other cellular wastes out of tired muscles. Lean proteins, and whole grain carbohydrates will put more nutritional support in your diet.
Dance medicine specialist and author Deborah Vogel writes:
"Four Warning Signs of an Injury
* Pain that gets progressively worse during class, rehearsal, work out, etc.
* Pain that comes after your class, rehearsal, or work out, and comes back the next day after less movement is done.
* Pain that appears when executing certain movements (e.g. during arabesque or landing a jump).
* No real sense of "pain" but a definite restriction of movement."
Pay attention to your body's signals. Ice tired and tense muscles even if they don't hurt. Take some deep breaths when you sit down to relax, or when you go to bed. Use a pinky ball to ease out tension, then do some very gentle stretching afterwards. Have a real day of rest, and catch up with non-dance activities.
Even when you are a recreational dance student, you get the most out of it if you act like pro. Ask your family graciously for extra help or rest time that you need, and let them know how much you appreciate their support.
This way you will really get to enjoy your experience of performing in ballet shoes and pointe shoes.
Read more about injury prevention, strength for pointe work, and muscle care at The Ballet Store.
Friday, November 14, 2008
Ballet Positions, Ballet Techniques and Ballet Movements
There are many many books and ebooks published on ballet positions, ballet movements and ballet techniques. If you are a new ballet student, how do know what you are looking at? Which ones might you choose to learn from? There are different ballet techniques. Which one is right for you? Will you get dance injuries if you practice ballet positions that are wrong?
There is an enormous amount of information in print, on DVD and via ebooks, about ballet positions, ballet movements and ballet techniques. Much of it is beautifully presented.
Ballet photography goes way back to the late 19th century and has preserved precious images of early ballerinas and premier danseurs. Going even earlier in ballet history, there are excellent drawings of ballet stars, ballet classes, and ballet masters.
It's fantastic that now we can view productions from ballet companies all around the world on DVD. For ballet fans who are not in a major city that is visited regularly by ballet companies, this is especially handy.
There is so much to look at, and how can we pick and choose what to learn from? Of course ballet is taught by a live ballet teacher, not from an ebook or DVD. But between classes there is opportunity to understand class lessons better, or study to figure out why certain ballet positions or movements may be difficult.
The Cecchetti method of ballet, the Royal Academy of Dancing and the Vaganova method are the three best known methods of teaching ballet. Most major full time professional ballet schools combine these styles, not necessarily by using all three grading systems, but by employing staff and guest teachers who have a well rounded training themselves. The Auguste Bournonville choreographic tradition shows up a lot in the Cecchetti grades, as just one example of how classical choreography has become embedded in training.
If you are interested in starting ballet, find out what schools in your area teach a syllabus (grading) system, or if they do not, what is the background of the teachers. Retired professionals do not always teach from one of these three systems, yet can be excellent at teaching from their own training.
If you are training to dance simply for your own enjoyment, you may or may not like the pressure of ballet exams - yet, it is part of the discipline in most schools. Whatever your preference, check around and find the right school for you.
If you are taking ballet for weight loss and you are on the right diet, you won't be disappointed. Ballet classes burn a fair amount of calories, and also help build muscle. Since muscles burn calories all by themselves, even when you are sleeping, gaining muscle mass is very healthy. Ballet is also good exercise for healthy bones as well.
Dance injuries are usually the result of sloppy technique or too much muscle tension. Work as accurately as you can, and if you are having trouble with a ballet position or movement, do not be shy. Ask for help. For one thing, repeatedly practicing a ballet movement incorrectly will lead to increased muscle tension.
If you are a curious student and want to know the ins and outs of the mechanics of ballet movements, and what would be anatomically correct, get one of the ballet books written on functional anatomy. It will help you sort out how to improve ballet positions and movements. Not everything in ballet is anatomically correct, and details about that is good for you to know.
Whatever ballet technique you choose to study, always enjoy the movements that you do more easily, get help with those that you struggle with, and take good care of yourself. Go to The Ballet Store for a huge library of dance books and special training manuals on ballet and functional anatomy.
There is an enormous amount of information in print, on DVD and via ebooks, about ballet positions, ballet movements and ballet techniques. Much of it is beautifully presented.
Ballet photography goes way back to the late 19th century and has preserved precious images of early ballerinas and premier danseurs. Going even earlier in ballet history, there are excellent drawings of ballet stars, ballet classes, and ballet masters.
It's fantastic that now we can view productions from ballet companies all around the world on DVD. For ballet fans who are not in a major city that is visited regularly by ballet companies, this is especially handy.
There is so much to look at, and how can we pick and choose what to learn from? Of course ballet is taught by a live ballet teacher, not from an ebook or DVD. But between classes there is opportunity to understand class lessons better, or study to figure out why certain ballet positions or movements may be difficult.
The Cecchetti method of ballet, the Royal Academy of Dancing and the Vaganova method are the three best known methods of teaching ballet. Most major full time professional ballet schools combine these styles, not necessarily by using all three grading systems, but by employing staff and guest teachers who have a well rounded training themselves. The Auguste Bournonville choreographic tradition shows up a lot in the Cecchetti grades, as just one example of how classical choreography has become embedded in training.
If you are interested in starting ballet, find out what schools in your area teach a syllabus (grading) system, or if they do not, what is the background of the teachers. Retired professionals do not always teach from one of these three systems, yet can be excellent at teaching from their own training.
If you are training to dance simply for your own enjoyment, you may or may not like the pressure of ballet exams - yet, it is part of the discipline in most schools. Whatever your preference, check around and find the right school for you.
If you are taking ballet for weight loss and you are on the right diet, you won't be disappointed. Ballet classes burn a fair amount of calories, and also help build muscle. Since muscles burn calories all by themselves, even when you are sleeping, gaining muscle mass is very healthy. Ballet is also good exercise for healthy bones as well.
Dance injuries are usually the result of sloppy technique or too much muscle tension. Work as accurately as you can, and if you are having trouble with a ballet position or movement, do not be shy. Ask for help. For one thing, repeatedly practicing a ballet movement incorrectly will lead to increased muscle tension.
If you are a curious student and want to know the ins and outs of the mechanics of ballet movements, and what would be anatomically correct, get one of the ballet books written on functional anatomy. It will help you sort out how to improve ballet positions and movements. Not everything in ballet is anatomically correct, and details about that is good for you to know.
Whatever ballet technique you choose to study, always enjoy the movements that you do more easily, get help with those that you struggle with, and take good care of yourself. Go to The Ballet Store for a huge library of dance books and special training manuals on ballet and functional anatomy.
Tuesday, November 4, 2008
A Professional Attitude For Ballet and Dance Students
Teachers in any kind of child, teen, adult education or college classes need their students to have basic good manners. Listening, not disrupting the class in any way, are skills that teachers hope every child has before they come to kindergarten. If only.
In ballet and dance classes progress depends on quick understanding by the students, as the physical doing and repetition of a correct movement is what creates good technique. And good technique is the basic ability, then talent, style and other aspects of presentation follow.
So what is a professional attitude that would help ballet and dance students who do not even have professional aspirations? Should they care?
Many inherent factors in the performing arts trainings can bring out the bad attitude in many of us, naturally. Some teachers are drawn to teach and correct to the physically gifted and more charismatic students, even if they are not good workers. This can raise the resentment of other students. I understand this. However, the professional attitude of everyone is to just keep working hard. It is also alright to ask your ballet teacher, at least every few weeks, "what should I be focusing on the most right now to improve?" If you have to demand attention, you do, in a polite way.
Of course if this is a real problem in your ballet studio, go somewhere else.
Casting for performance roles is naturally an issue. Everyone hopes that she or he is ready for the lead or solo roles, or realistically knows that they are not. On the management end, it is true that those teachers doing the casting sometimes do consider students whose families support the school, or who have financial influence. Occasionally it is painfully obvious.
However you get cast, fairly or not, rehearse and dance every role like it is the most important role in the ballet. Because it is. It is YOUR role. That doesn't mean you demand any extra attention with superfluous smiling or any other kind of exaggeration. Do not distract yourself with envy (though it is a natural reaction to feel it, keep it under control), grief, or moping. You can cry on the right shoulder away from the studio, but in the studio you act with quiet pride in all that you do.
You come prepared for every class and rehearsal. You do the minimal socializing, and do not join in the complaining committee of the other unhappily cast ballet students. Just go about your business.
If your ballet studio is presenting excerpts from classical choreography rent the ballets, different companies if possible, and see how the professional dancers do the parts you are rehearsing. Different dancers have different interpretations, musicality and style. You can always learn something to adapt in your way to improve your presentation.
A professional attitude is largely about self-containment. Get advice outside of the studio from family or friends, even other teachers. Release your emotional disappointment somewhere safe. But in the studio, just work. Be helpful to others when needed, as long as it doesn't take away from your work.
Get an edge on your competition as well by studying the expert dance manuals that are available. Improve on your own, take care of aches and pains, eat well and sleep well. Everyone respects that, whether they say so or not. Become your own expert and be a pro, whatever you do.
In ballet and dance classes progress depends on quick understanding by the students, as the physical doing and repetition of a correct movement is what creates good technique. And good technique is the basic ability, then talent, style and other aspects of presentation follow.
So what is a professional attitude that would help ballet and dance students who do not even have professional aspirations? Should they care?
Many inherent factors in the performing arts trainings can bring out the bad attitude in many of us, naturally. Some teachers are drawn to teach and correct to the physically gifted and more charismatic students, even if they are not good workers. This can raise the resentment of other students. I understand this. However, the professional attitude of everyone is to just keep working hard. It is also alright to ask your ballet teacher, at least every few weeks, "what should I be focusing on the most right now to improve?" If you have to demand attention, you do, in a polite way.
Of course if this is a real problem in your ballet studio, go somewhere else.
Casting for performance roles is naturally an issue. Everyone hopes that she or he is ready for the lead or solo roles, or realistically knows that they are not. On the management end, it is true that those teachers doing the casting sometimes do consider students whose families support the school, or who have financial influence. Occasionally it is painfully obvious.
However you get cast, fairly or not, rehearse and dance every role like it is the most important role in the ballet. Because it is. It is YOUR role. That doesn't mean you demand any extra attention with superfluous smiling or any other kind of exaggeration. Do not distract yourself with envy (though it is a natural reaction to feel it, keep it under control), grief, or moping. You can cry on the right shoulder away from the studio, but in the studio you act with quiet pride in all that you do.
You come prepared for every class and rehearsal. You do the minimal socializing, and do not join in the complaining committee of the other unhappily cast ballet students. Just go about your business.
If your ballet studio is presenting excerpts from classical choreography rent the ballets, different companies if possible, and see how the professional dancers do the parts you are rehearsing. Different dancers have different interpretations, musicality and style. You can always learn something to adapt in your way to improve your presentation.
A professional attitude is largely about self-containment. Get advice outside of the studio from family or friends, even other teachers. Release your emotional disappointment somewhere safe. But in the studio, just work. Be helpful to others when needed, as long as it doesn't take away from your work.
Get an edge on your competition as well by studying the expert dance manuals that are available. Improve on your own, take care of aches and pains, eat well and sleep well. Everyone respects that, whether they say so or not. Become your own expert and be a pro, whatever you do.
Sunday, October 26, 2008
Pointe Shoes With Your Feet In Charge
Which is in control of your dancing- your pointe shoes or your foot muscles?
Of course you want to get exactly the right fit. So say your ballet store only sold Freeds, for example. Lengths and widths are commonly available. Freeds are hard shoes.
They are wonderful for the higher arch, giving lots of support. They come in low and high vamps, good for short or long toes, so really they could be okay for everyone.
If you have a low arch and less flexible ankle joints, you need to break in your Freeds more. Same with Capezio's.
Gambas are lighter shoes, go easy on them. Probably the first couple of classes will break them in fine.
If your core muscles are weak, if you are still hyper-extending your knees, and if you haven't strengthened the sole of the foot muscles, then your pointe shoes will be in control.
If they don't fit perfectly (no shoe does, unless it's made for you), if you are wide at the metatarsal area, or forefront of the foot, and narrow at the heel, or vice versa, you will always have a little situation.
Fitting Pointe Shoes
Fit the pointe shoes for the larger foot. (You may do the opposite with leather soft shoes, because they will stretch to fit.) You can pad the shoe for the smaller foot a little more, rather than crunch the bigger foot and get bad blisters, bunions, or an injury.
If you need wide pointe shoes for the metatarsal area, leaving the choice of pointe shoes too wide at the heels, then use a drug store brand heel grip or get a big bag of makeup wedgies and cut them to the exact size you need.
Glue them into your shoes, or squeeze in where appropriate.
I'm not going to go through every nuance of a shoe fit.
Ballerinas share how they prep their pointe shoes:
The Perfect Pointe Book tells you all those details.
Your foot muscles have to be strong enough to control the shoe.
Your posture has to be correct so that you can be on balance.
Learn more about that here - How To Get Abs Exercises Right For Ballet
If you get a pair of shoes with a slight deviation or a spot on the top of the box that presses into your foot, work on it with your hands, or use extra padding.
Whether you stick a little foam, corn pad, or adhesive tape on your foot or on the shoe, it doesn't matter. Whatever works.
After two to three pairs of the pointe shoes that you can get still don't work out, you may have to try ordering a different brand on line. You are not going to waste a pair of shoes.
You will learn how to work on the feel of your pointe shoes to suit yourself.
You have to get your muscles in charge.
That's exercising every day, not doing bunches of releves or retires releves, but doing the basic sole of the foot exercises.
In other words, if you have a problem, look at your foot strength first, and your shoes second. Pick a pair a little too large rather than a little too short if you are in between. Too short, and too narrow, can lead to pain and injury.
The Perfect Pointe Book provides you with all the details for developing foot strength (and correct posture too!).
D. Buxton is a writing partner with Vone Deporter, of The Sedona Series, about a surfer girl in pointe shoes.
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Sunday, October 19, 2008
Ballet Foot Positions-Use of the Theraband
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| source. |
(These exercises are illustrated further in The Perfect Pointe Book, with many others to prepare you for pointe shoes You can CLICK HERE to get your copy.)
If you are in a pre-pointe class, or organizing your own pre-pointe practice, you can learn four basic exercises to strengthen the sole of the foot muscles, and then do them with a stretchy band.
Feet and ankles must be strong enough before starting pointe work, for slow releves through the metatarsal area, and slow controlled lowering, without any sickle in or out of the ankle joint.
"Toe swapping" is done starting with the feet flat on the floor. Simply lift the big toes up, leaving the foot and the other toes flat.
Do not lean the foot toward the big toes, the sole of the foot should rest on the floor with no twisting. Place the big toes down, and lift the other four toes.
You may cramp, in which case stop and roll your foot over a tennis ball or pinkie ball, to relax the muscles.
Do this 10 times, a total of twenty lifts. Initially, you may find that your brain can't even find the muscles to do this precisely - but your brain-to-foot communication will improve.
When your movements are precise, you can add the stretchy band. Sitting down with your legs straight in front of you, flex the feet and place the stretchy band behind the toes.
"Playing the piano" with the toes is just like it sounds - lift all toes to start, and place the big toe, the next toe, the next and so forth. Do the reverse, lifting the little toe, the next, and so forth.
Relieve cramping if necessary, and do both movements 10 times each.
Once your movement is well-defined, add the stretchy band, sitting, feet and toes flexed, with the band behind the toes. Your toes will keep contact with the band, with more resistance when pressing against it.
If you use the band before your movement is exact, it will not do much good. Try it and you'll see why, nothing really happens.
For ankles, if you are wobbly going up and down in slow releves, in soft shoes, you are not strong enough to be in pointe shoes.
You must check your overall posture, use of the core muscles, turnout and how your feet rest on the floor when flat. Wobbling can be for many reasons. But, back to the ankles,
If you get corrections for sickling in where your weight goes towards the little toe: sitting, legs straight, loop the band around your right foot, at the metatarsal area.
Hold the band ends with your left hand. Pull the foot outward, and you will feel the muscles on the outside of the foot/ankle area working. Pull and hold for 10 seconds 10 times. Repeat other side.
If you go up onto demi pointe or pointe and your weight leans onto your big toe, you would loop the band and pull your foot inward, working the muscles on the inside of the foot/ankle area.
Another strengthening exercise is (sitting, legs straight out in front) to slowly stretch the feet, splaying the toes apart and stretching them long.(Meaning, DO NOT CURL YOUR TOES).
Here is an excellent video by Lisa Howell demonstrating lengthening of the toes, and with an extra tip for strengthening at the same time:
You can use the theraband around the metatarsal area for resistance, except for one instance.
If you have highly mobile ankle joints, repetitive pointing and compressing a pointed position can irritate the back of your ankles. You do not need that particular movement at all. You DO need to increase strength in the soles of the feet and to control slow rises with no loss of ankle control.
If you are a late starter or adult beginner in ballet, start these exercises now.
CLICK HERE to get The Perfect Pointe Book It shows you all the details.
Doing these exercises 5-6 days a week will diminish the gap between your understanding of ballet technique, and the strength needed to do it.
In your slow releves onto pointe, and back down, your ankle should not lean or change angle in any way.
If your big toe is much longer, you can use toe levelers in your pointe shoes.
If your second toe is longer, you need to fit the shoes so that it can straighten, using padding for your other toes.
Even with exactly the right fit in ballet pointe shoes, the shoes lend SUPPORT, your feet provide the CONTROL.
More About Ballet Feet
How to Prevent Foot Injuries in Ballet Shoes and Pointe Shoes
D. Buxton is a writing partner with Vone Deporter, of The Sedona Series, about a surfer girl in pointe shoes.
Follow us on Pinterest!
Friday, October 17, 2008
You Can't Stand Green Vegetables Yet You Want Strong Ballet Muscles
I know there are many talented ballet dance students and young people training to win in the different sports arenas who do not take nutrition seriously. Until they get injured, or until their recovery periods no longer suffice to recover in. Green vegetables are number one on their "can't stand" list.
A simplistic explanation of how green vegetables, especially cruciferous (broccoli, kale, Brussel sprouts, cabbage, being the most common) support exercise might be this.
The body works like a machine. The workings are motivated by thought, be it conscious, subconscious, deliberate, careless, positive, negative, precise or sloppy.
Once a motivating thought has occurred, several bio-electric mechanisms ensue.
Nerve endings do not actually engage with muscle fiber. However, they communicate by an electrical current and certain chemicals. Compare it to putting a plug in the wall. You have a plug, and you have a socket. When the connection is made, energy flows. Your action would be the electricity/chemical process.
In your muscles, one element has to be released for the connection to be made, and for a muscle contraction to occur. That element is calcium.
Due to excellent marketing, we think that our prime source of calcium is milk. That is not true. And if you are allergic to milk, lactose intolerant, or eat vegan, you get left behind right here, with milk as a source of calcium.
Sesame seeds are an excellent source of calcium. So are leafy green vegetables, particularly cruciferous vegetables. Steamed, baked, stir-fried, shredded, raw, fermented (as in sauerkraut), or eaten cold in salads, the "can't stand" part can be disguised with a little butter and lemon juice (if hot), or a delicious salad dressing if cold. Add some slivered almonds or crumbled walnuts to a hot or cold dish, and it's pretty yummy.
Some people get bloated and gassy after eating certain vegetables. This is not because of the vegetables. It is a lack of intestinal flora, or healthy bacteria, which are on your digestion team. You are simply under-staffed.
These little beings are part of the factory that produces certain chemicals from these vegetables and then transforms toxins created in the process to prompt a de-toxifying process and carry gunk out of your body. If you get a high content Acidophilus/Bifidus product, you will get more comfortable results from eating vegetables. Maybe not overnight, it is a gradual improvement process. It is slowed down by eating sugar.
Cleaning your intestines in any way is a detox. You may experience mild headaches, mild aches and pains (which your ballet and training aches and pains will probably override), or fatigue. The good news is, cruciferous vegetables also have a lot of fiber and help move out the debris in your intestines.
If you just cannot try to eat these wonderful green superfoods, make sure you get them in a whole food supplement along with some calcium too. You want to eat what is nature born. This will help you develop strong ballet and athlete's muscles.
A simplistic explanation of how green vegetables, especially cruciferous (broccoli, kale, Brussel sprouts, cabbage, being the most common) support exercise might be this.
The body works like a machine. The workings are motivated by thought, be it conscious, subconscious, deliberate, careless, positive, negative, precise or sloppy.
Once a motivating thought has occurred, several bio-electric mechanisms ensue.
Nerve endings do not actually engage with muscle fiber. However, they communicate by an electrical current and certain chemicals. Compare it to putting a plug in the wall. You have a plug, and you have a socket. When the connection is made, energy flows. Your action would be the electricity/chemical process.
In your muscles, one element has to be released for the connection to be made, and for a muscle contraction to occur. That element is calcium.
Due to excellent marketing, we think that our prime source of calcium is milk. That is not true. And if you are allergic to milk, lactose intolerant, or eat vegan, you get left behind right here, with milk as a source of calcium.
Sesame seeds are an excellent source of calcium. So are leafy green vegetables, particularly cruciferous vegetables. Steamed, baked, stir-fried, shredded, raw, fermented (as in sauerkraut), or eaten cold in salads, the "can't stand" part can be disguised with a little butter and lemon juice (if hot), or a delicious salad dressing if cold. Add some slivered almonds or crumbled walnuts to a hot or cold dish, and it's pretty yummy.
Some people get bloated and gassy after eating certain vegetables. This is not because of the vegetables. It is a lack of intestinal flora, or healthy bacteria, which are on your digestion team. You are simply under-staffed.
These little beings are part of the factory that produces certain chemicals from these vegetables and then transforms toxins created in the process to prompt a de-toxifying process and carry gunk out of your body. If you get a high content Acidophilus/Bifidus product, you will get more comfortable results from eating vegetables. Maybe not overnight, it is a gradual improvement process. It is slowed down by eating sugar.
Cleaning your intestines in any way is a detox. You may experience mild headaches, mild aches and pains (which your ballet and training aches and pains will probably override), or fatigue. The good news is, cruciferous vegetables also have a lot of fiber and help move out the debris in your intestines.
If you just cannot try to eat these wonderful green superfoods, make sure you get them in a whole food supplement along with some calcium too. You want to eat what is nature born. This will help you develop strong ballet and athlete's muscles.
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