Top 10 New Year's Resolutions and a Few for Dancers

I saw this terrific list of resolutions on EP and wanted to share.in the slideshow below. I'd also like to add a few for dancers: I also think that these are good resolutions whatever your work may be.

Keep Yourself Limber

A dancer can't be too flexible. All styles of dance require excellent flexibility to perform steps and jumps correctly. If your flexibility could use some improvement, make it a habit to stretch each night before bed and each morning before breakfast. You'll be amazed at how quickly you become more limber. And you'll love what it does for your dancing.

Get Stronger

Dancers need to be strong. Strength allows a dancer to move quickly and protects against injury. Try adding a few strength-building exercises to your daily routine. Incorporate a variety of exercises to strengthen the entire body.

Try a New Style

All dancers can benefit from trying out a new dance style. Trying a different type of dance not only challenges the body, but also the mind. Check out a tap or clogging class, or take a swing at ballroom dancing. You may just discover a hidden talent.


Challenge Yourself

Don't be afraid to give yourself a challenge. Maybe you've never had the confidence to enter a dance competition or perform a solo routine. Maybe you'd like to try a triple pirouette instead of settling for a double. You'll never know what all you can achieve if you don't try. Make a list of 12 challenges and add one to each month of your calendar.

Never Give Up

Whether your dream or goal is to be a professional, join a certain company, win a competition, or just have fun, don't get discouraged. Strive to become the best you know that you can be.  Top 10 New Years Resolutions 2011 - EP

View more presentations from Empowered Presentations, Honolulu, HI.

The Gifts Dance Brings to Our Lives

The journey between who you once were and who you are now becoming, is where the dance of life really takes place.” Barbara De Angelis

Anyone who has taken dance classes will have been taught not only steps and positions, but valuable life lessons about life as well. Stop and think about the gifts dance has brought to your life. Here are a few.

The Importance of Health

The first lesson children are taught in ballet class is to stand and sit up with straight backs. It is one of the hardest and most important lessons to achieve. Good posture is a key factor to good health as well as a better appearance. It also improves confidence and strength.

Standing up straight with the head proudly held up, shoulders pulled back and stomach held in will strengthen the core of the body, help avoid back problems, make the body look thinner and can improve circulation, digestion and mood. This simple action reduces the appearance of insecurity and shyness, thus improving confidence. Eating healthy food and regular exercise will also improve overall health.

Disipline and Self Control

Professional ballet dancers stay in shape by taking ballet class every day. Children and beginners learning to dance attend at least one class a week, if not more. They have to listen to their teacher, follow instructions and take criticism without offence. They work hard to improve, and practice the steps and technique over and over until they’re perfect.

The world today seems to be a place where discipline and self-control are unpopular and old-fashioned. Learning to say no to things that are damaging to health, lifestyle or environment is requires a similar discipline and dedication that dancers use to push their bodies to the limit every day.

Simply walking past the chocolate aisle in the supermarket without stopping can return power to the person who may not normally be able to resist. While this does not seem equal to standing on one leg while the other one is held above the head, it can require a great deal of will-power, depending on the desire.

Smile - You'll Feel Better

This is the easiest lesson of all. Smile. It doesn’t hurt, makes others feel happier and brightens the room. Even if you don’t feel like it, smiling through the crabbiness, sadness or anger can at least disguise those feelings until true happiness returns.

Dancers who smile in class, at auditions, during rehearsals and in performance are opening a window to their soul, allowing people in to experience their joy of dancing. It comes naturally to some, while others need reminding. Smiling takes practice, like anything else.

Courage

It’s sometimes difficult to do something new, to take that first class, perform a certain role, voyage into the unknown, but the rewards are worth it. Allow yourself to be vulnerable and grow.

Handling Criticism

Every dancer encounters criticism, of his/her technique, body, performance at some point. However, this also teaches dancers not to take criticism as a put-down, but use it as a tool to improve. By learning to use criticism in a positive way, especially with the help of parents and friends, dancers learn to distinguish between constructive criticism and uncalled for rudeness.

In everyday life, people are subjected to criticiam, even bullying from bosses, teachers, co-workers, fellow students. Learning to handle and understand the reason behind the negative words can turn them into a guide to improving yourself on your own terms. If someone is just plain hostile, then walk away. If you see that some constructive criticism is warranted, then apply it.

The Art of Patience

Anything worth doing is worth doing well. Ballet dancers have to practice the same steps and choreography over and over until it is right. Every small detail, from the angle of the head to the point of the foot, must be exact. The timing of the steps must go with the timing of the music, therefore the dancer has to listen carefully as he/she moves her body.

In everyday life, doing something well is very satisfying and rewarding. It doesn’t matter what it is or how long it takes as long as it is performed with enthusiasm and effort.

Nothing is Perfect

There is no such thing as a perfect person or thing. You have to make the best use of what talents you have. No matter what you do, don't aim for perfection. Aim for doing your best. There's a great satisfaction in knowing that whatever happens, you've given your all.

Passion

Whatever you do and enjoy, do it with passion. Passion is the difference between good and extraordinary. If you love what you are doing, it shows like a bright beacon and attracts people to you. The greatest dancers, or people in any field, aren't necessarily the best technically, but they pour their heart into their work. They work because they love doing it.

Life is a Journey

Goals and destinations are important, but you can’t look at where you are and compare yourself to others. Life, like Dance, is a journey. Always strive to improve, but enjoy where you are today; enjoy the journey. Look back and see where you came from and celebrate the success of what you have already achieved while you look forward to what lies ahead.

Become a Better Dancer Through Somatic Imagery

David Howard was once recorded as saying ‘If you are just concerned with appendages and don’t invest in the soul, presumably located in the torso, you will never bring an audience to its feet’. Dancers are sometimes so obsessed with technical skill that the ‘art’ of performance is lost, showing only a body in space moving through an ever-changing sequence of shapes. Training that excludes artistic expression and separates technique from art has very little to do with dance as an art form. An emotion from within must be expressed in order to reach deep inside the audience and bring more than just movement to the dance.

By its very essence, Somatic Imagery is profoundly integrative. It is the language of the unconscious – sending healing messages to the body and resolving psychological conflicts rooted in early experiences. How does Somatic Imagery help dancers? Here are a few ways:


The Performance Environment

A dancer is often required to create an imaginary stage environment. Minimal design and props only suggest much of the set used in contemporary dance, ballet and physical theatre work. The performers are then required to imagine the rest and bring life to the piece through their interpretation and performance. The dancer’s inability to create an environment can make the performance look stale. In order to imagine and envision such environments, performers must practice ‘anchoring’ objects to the space. This implies that although an object is not actually there, such as a window, the performer believes it exists and will always refer to the exact same spot where this object sits on stage. This then allows the audience to believe that the object is there and can share in the performer’s imagination.

With or Without an Audience

A dancer must also ask him/herself what relationship he/she has with the audience. Is the dancer trying to involve them in the dance or are they outside spectators observing the private motions happening within a large box? Usually, a stage has three walls with an empty space at the front. If a dancer embraces this space and acknowledges the open void, perhaps even making eye contact to an audience, then they are inviting the audience to experience the dance with them.

However, some choreographers suggest that there is a ‘fourth wall’ to the performance box, putting a barrier between the audience and the dancer and letting the performance feel more closed off to the outside world. The idea of a ‘fourth wall’ is often used in more abstract work such as the work choreographed by Merce Cunningham. However a dancer must ensure that they are performing the dance as directed by the choreographer and not as an individual. They must make sure they are not the only dancer performing with a ‘fourth wall’.

Your History

A dancer must have a history when performing, not merely be a machine sending his/her limbs into space and creating shapes. A dancer is a personality, an individual with a background and should try to expand the background of the character or performer they are portraying. Imagine a storyline and historical background that prompts the reason for the movements and mood of the work. This will add richness and depth to a performance.

Stepping Onstage

The moment you step on stage you should be performing to your fullest potential, but this is not always easy when there are lots of distractions backstage with very little room to warm up. The key to performance preparation is concentration. The more focused and prepared a dancer is before a performance the more intense his/her performance will be, and even the smallest joke made before going on stage can dampen the power of performance. A dancer must find his/her own ‘performance image’ creating their own performance personality that refines them as an individual. Suggestions to heighten concentration and prepare a dancer for performance are:

One minute focus: Think about nothing for one minute at regular intervals. If this is difficult try focusing on your breath.
Consciousness: Let awareness flood your body. Become aware of every part of your body and pour concentrated awareness into every cell.
Aura: Create a performance atmosphere around your body. Depending on the dance the aura may be intense or soft and soothing.
Think of your body as glowing: The faster you move, the more you glow. When you slow down, your glow becomes deep, rich and mysterious.
Body spotlight: Think of a bright light shining from the centre of your chest, illuminating the space like a powerful spotlight.

Each dancer will find that he/she prefers certain techniques to others and will stick to one particular technique to enhance their performance. and should be tried frequently to achieve success. The common thread in all imagery work is the search for solutions from within the self, whether they be in the nature of changed perceptions, new insights, or the discovery of personal resources that help a dancer or anyone use his/her full potential.

Sources

Franklin, Eric (1996) Dance Imagery for Technique and Performance, Human Kinetics: USA
Franklin, Eric (1996) Dynamic Alignment Through Imagery, Human Kinetics: USA
Blom, Lynne, Anne (1982) The Intimate Act of Choreography, University of Pittsburgh Press: USA

Keeping the Memory of Deceased Loved Ones Alive at Christmas

Since my post, Remembering a Dead Father on Father's Day has been so popular, I'd like to offer ways to cope during the holidays with the loss of a loved one. Just before Thanksgiving of this year, my mother's best friends's daughter committed suicide, leaving a husband and 2 children, ages 6 and 3.

Christmas can be an especially bittersweet time of year. While enjoying all the fun and pleasures of the season, memories of past Christmases with loved ones who are no longer with us can be painful. These emotions can run the gamut from the occasional holiday blues to a longer lasting and more serious depression.

Taking steps to honor lost loved ones at Christmas keeps their memory alive and provides comfort to the surviving family and friends. Here are some ideas:

Talk About Them.

Many people hesitate to bring up lost loved ones at Christmas because they are afraid of stirring up emotions and possibly upsetting others. Many times, however, it is very beneficial to reminisce about past holidays when loved ones were still here. Enjoying a laugh about the time when Grandma forgot to take the giblets bag out of the holiday turkey or when Dad became obsessed with jogging and bought every member of the family sneakers for Christmas can relieve stress and lighten your heavy heart a bit. Every family has funny anecdotes about past Christmases when every member of the family was present. Reminiscing brings the rest of the family closer together and also reminds us that our lost loved ones are still with us on the holiday.

Cook Or Bake Their Signature Dish.

Trying your hand at recreating your deceased loved one's signature dish or dessert is a lovely way to honor their memory. Not only enjoying the dish at your Christmas celebration, but the act of preparing it will help you to feel closer to your lost loved one. Every year at Thanksgiving and Christmas I serve my Grandmother's Christmas Ambrosia recipe. I am reminded of the many years that I sat in the kitchen watching her lovingly prepare this side dish for our Holiday meals. Instead of making me sad, it brings me great happiness to now serve my family this dish that has become a holiday favorite. It exemplifies that my grandmother's love and her traditions are being kept alive.

Watch Home Movies.

We are very lucky that we live in an age where having hours of film footage of our families enjoying holidays together is commonplace. Make viewing home movies of Christmases past a regular part of your Christmas holiday. If you have lost your loved one recently and this is the first Christmas without them, it may be too upsetting to start this tradition this year. Waiting a year or too until the pain is not quite so raw may be a wiser option. If your loved one was lost before your children were born or when they were very young, this is also an excellent way to familiarize them with your loved ones. Consider handmade ornaments with the deceased person's name as a way to keep him/her near.

Visit The Grave Site.

Paying a visit to the final resting place of your lost loved one is a wonderful way to honor them this Christmas. Making sure their grave site is neat and tidy and bringing a Poinsettia or wreath will bring you great comfort ad give you some uninterrupted peaceful time to reflect on their love and influence upon your life.

Make A Donation In Their Name.

Making contributions to charities at Christmas is a thoughtful and generous gesture that is always appreciated. Offering a donation in your lost loved one's name is a lovely way to honor them at Christmas. If your loved one passed away from Cancer or Heart Disease, making monetary donations to aid in research for new treatments to save the loves of other people's family members afflicted with the same disease will undoubtedly bring you comfort during the holiday season. Think about what was important to your deceased loved one. If your mother, father or sister was an animal lover or was passionate about the care and safety of children, make a donation int heir name to the local animal shelter or an organization that provides services to abused children.

Light a Candle

Use the link below to light a candle in honor of a deceased parent, child, sibling, friend, pet, etc.

Light A Candle

Whatever you do, celebrate the person's life. He/she will always be with you in spirit, in your heart.

Free to Dance: The Legacy of Alvin Ailey

At Right - Dancers Perform in "Revelations"

The lights dim and there is a profound hush that rolls over the sold out crowd. Hearts beat loudly with anticipation as the curtains slowly open. A solitary light beams down on a strong, regal-like black woman adorned with a beautiful head wrap. She deliberately unwraps the headpiece an uses it to scrub the floor. After illuminating her trials and sorrows in movement, she eventually rises toward a life of freedom. This dance, depicting the courage and determination of an African American woman entitled, "Cry," is the type of choreography that will immortalize Alvin Ailey.

For the past fifty years, The Alvin Ailey American Dance Theater (AAADT), has not only recorded the history of the African American experience through modern dance, but has also touched the lives of children and adults with their physically awe-inspiring, technically exact and powerfully expressive performances. Internationally, they are known as cultural ambassadors of good will, promoting the uniqueness of black Americans and the preservation of the American dance heritage.

Born in Texas, January 5, 1931, Ailey was raised by his single mother. On a junior high school field trip to see The Ballet Russe de Monte Carlo he discovered a whole new world of expression, dance. Ailey began his serious dance training when a high school friend brought him to Lester Horton's classes. The influence of Horton's dance troupe, which included American Indian and Japanese influences, can be seen in later years in Mr. Ailey's multi-cultural style.

In 1958, the Ailey Company emerged from performances in New York City. This small group of dancers changed the aesthetic quality of modern dance forever. When Mr. Ailey started creating dances he drew from his childhood experiences with spirituals and blues as his inspiration. It was during this period of his life that he conceived his most loved and acclaimed work entitled, "Revelations." This trilogy portrays an array of spiritual worship, which has become a tradition to see in the "finale" of most performances.

Alvin Ailey was the first modern dance choreographer to successfully produce a "pointe" ballet entitled, "Feast of Ashes." In 1970, after traveling all over the world with their dance, the company became internationally recognized for combining Modern, Ballet, Jazz, Latino and African genres, to produce a fascinating and unique dance experience. That same year, with an original score commissioned from Duke Ellington, Ailey created, "River" for The American Ballet Theatre. This was the first ballet to convincingly merge jazz dance and ballet technique.

Ailey dancers, known for their uncanny versatility and strength, are trained in Horton technique. Ailey is famous for calling Horton a “modern tops and ballet bottoms” approach. The lower body is strong and angular while the upper body remains totally expressive.

After his untimely death in 1989, his long time prodigy, Judith Jamison, became the Artistic Director of AAADT. Following in the tradition of Mr. Ailey she continues to promote new choreographers, a multi-cultural curriculum at the Ailey Center, and initiatives to bring dance into the community through adult and children's arts programs. The Ailey Camp works with preteens, to strengthen their bodies and minds. Developing leadership and communication skills, as well as a respect for themselves and others, the children are encouraged to discover the special inner qualities that they can offer to the world.

Jamison has also blossomed into a choreographer of note. "Love Stories" is a collaboration with Modern dance wonder Robert Battle and Hip-Hop renegade Rennie Harris, set to music by Stevie Wonder. The piece was inspired by the idea of “Sankofa” the Akan word which means “go back” (Sanko) and “take” (fa). The concept means that we don’t know where we are going until we know where we have been. “Love Stories" is about whatever a dancer gets from being in a studio alone in front of a mirror…the solitude of that place,” says Jamison. “It’s about trying to be as honest with oneself as possible. That is what Alvin was always about….bringing us to our true selves.”

The AAADT has performed in most states, and in 71 countries on six continents, for over 21 million people. Dance historians can recall a time when ballet and modern dance were very different and even competitive disciplines. Alvin Ailey and his company changed that forever. During his lifetime, Mr. Ailey has received many prestigious awards including Kennedy Center Honors, in 1998 for his extraodinary contribution to American culture and achievement in the performing arts. The company remains committed to promoting the Ailey heritage in which dance as a medium honors the past, rejoices in the present and marches intrepidly into the future, making new and even more unique contributions to mankind.

Clips from Revelations

Light a Virtual Candle in Honor of a Deceased Loved One

Of all my posts, the most popular has been Honoring a Dead Father on Father's Day As Christmas and a New Year approaches, I know first hand how hard these celebrations can be for the families and friends of deceased loved ones.

Please use the link below to light a candle in honor of a deceased parent, child, sibling, friend, pet, etc. this holiday season. - The group's name will be Sheri for easy idendifiation and also feel free to share stories, ways to cope, traditions, memories, and most importantly, your feelings in the comments section here. If you are angry, sad, confused, feeling no emotion, whatever the case, you might just make another person feel better by helping them to realize others are experiencing the same things.

Light A Candle

Studies Confirm that Arts Should be Part of School Curriculums

It has often been debated in recent years whether the value of including the arts in school curriculum is beneficial or simply a waste of money. Research and Evidence supports the inclusion of the arts in the education system.

Here are some findings from several articles that clearly point out the inarguable benefits of the inclusion of the arts for all students.

Everyone Benefits

One of the most important reasons that the arts should be included in school curriculum is as Sylwester points out, “...they cognitively stimulate both those who do them and those who observe them." This means that everyone can benefit from the inclusion of the arts, not just those who are actively participating in them. In what ways do the arts cognitively stimulate?

Hetland explores some of these benefits as he observes that the arts “...teach habits of high-order thinking that help students develop capacities to recognize the hidden roots of problems, make careful choices in ambiguous circumstances and seek and synthesize the resources necessary to solve problems in novel ways."

Rainey expands on this when he states “through the arts, students learn discipline and teamwork. They expand their knowledge of every subject area, from language arts to math and science. They also build self-esteem." Eger also agrees with these sentiments and takes it a step further when he states “research shows that learners can reach higher levels of achievement through their engagement with the arts. In addition, learning in and through the arts can help level the playing field for disadvantaged youth."

Many Great Achievers were Artists

If these reasons are not compelling enough to support the inclusion of the arts in school curriculum, and examination of some of the great achievers from the past can demonstrate the importance of this cause. For example, as Eger points out, “...nearly all of the great inventors and scientists were also musicians, artists, writers, and poets." Some of the specific examples included in this article are, “Galileo was a poet and literary critic. Einstein was a passionate students of the violin. And Samuel Morse, the father of telecommunications and inventor of the telegraph, was a portrait painter.

Albert Schweitzer, the humanitarian and medical doctor, was a world class organist and Bach expert." What parent would not want their children to be exposed to the sources of inspiration that influenced these great men who have had such a tremendous influence on our society today? By removing the arts from school curriculum, we are limiting our children in the level of greatness that they could achieve. Rainey also states that inclusion of the arts is “...an essential step as we seek to shape our students into well rounded, thoughtful individuals who are making history, not just reciting it."

Cost vs. Benefit

Although few would argue that there are benefits to children being exposed to the arts after reviewing the above facts, some would still argue that the cost is too high. They would say that children should be exposed to the arts, but that it should be the parents' responsibility, not the school's. In response to this, Sylwester observes, “...it shouldn't depend entirely on parental ability to finance private lessons if our entire culture benefits from the abilities."

Thinking back to what Eger said regarding the arts leveling the playing field for disadvantaged youth, it is important to keep in mind that this benefit would be removed if the responsibility for exposure to the arts were left entirely to the parents. It is obvious that the parents of those youth who are considered disadvantaged, would not have the means to provide their children with exposure to the arts. Is it not our responsibility, as a society, to ensure that all of our youth are given the opportunity to reach the highest level of success possible?

It is clear from examining the benefits of the inclusion of the arts, that we as a society would be negligent if we did not include it as an element of our school curriculum. The benefits of the arts are not limited to a certain type of person, but rather, are beneficial to all students, regardless of their circumstances. In addition to the benefits for those who are actually doing the arts, there are benefits for those observing them as well.

It is clear that society as a whole will benefit from the inclusion of the arts in school curriculum, and as such, we must make this a priority. Rainey sums it all up when she quotes Pablo Picasso “Every child is an artist. The problem is how to remain an artist when we grow up."

Sources
Eger, J. (2008, March). The Arts in Contemporary Education.
Hetland, L. (2008, March). Basically, Arts are Basic.
Rainey, S. (2008, March). The Whole Picture : Arts Reside in Riverside School.
Sylwester, R. (1998, November). Art for the Brain's Sake. Educational Leadership 56 (3), 31-35.

Christmas Gifts for Dance Teachers/Other Dancers

Picture - A ballet slippers ring given to me a few years ago.


The joys and headaches of having a child that takes dance lessons or taking them yourself inevitably involves the question of what to give a favorite teacher for Christmas? What about a dancer who is a relative or friend? As a dancer and teacher, here are some gift ideas:

Gift Certificates - Dance teachers purchase all their own music and gear for class. A $10 gift certificate to the music store or iTunes makes the perfect gift. A gift certificate to your local dance supply store is also a very useful gift. Even if it's only $10, that $10 can purchase a pair of tights or go towards a new outfit or some dance shoes, which are very expensive for both dancers and teachers. Or for dance lovers, Fred Astaire and Authur Murray Studios offer certificates all over the US.


Dancer Ornaments - The perfect addition to a Christmas tree. If you can handmake ornaments, all the better for a personal touch.

Lotions. I know most people think bath and body products are a cop out gift, but they aren't for a dancer. A dancer really needs to take care of their body, especially their feet. Look for special lotion for the feet, special socks, and even legwarmers could be added to make a nice little gift basket.

Calendars - Calendars are always welcome, especially if you can find one that matches the type of dance being taught.

Dance Teacher/Dancer Mugs - Fill with chocolates and candies to make it extra sweet. Tie some decorative ribbon around the handle if you'd like.

Tote Bags - Dance teachers and dancers are constantly lugging stuff around. They're typically involved in more than one dance activity. They might be on a dance team and several teach at more than one studio.


Dance Photo Frames - A dance themed picture frame is also a great gift. Put student's pictures in there or leave empty for the teacher or dancer to decide. You also can get a plain one from the craft store and decorate it yourself.


Dancer Cookies - Include cookies in the shape of dancers or in the shape of other things that may remind you of dance. You could make basic sugar or gingerbread cookies. These could even be a special treat at the end of class for each student. A cookie cutter with a recipe and the ingredients for the recipe in a little basket would also make a nice gift.

Ornaments/Figurines. I do not know how many little ballerina decorations I own. Every year someone gives me one. Many of them are beautiful, and I do not mind the collection I have accumulated at all. A small figure of a dancer might also be a nice gesture, especially if the figure looked like the student or the teacher. Or maybe it was reminiscent of a part someone had in a recital or ballet. A nutcracker however is probably overused and may not be the best choice for a figure or ornament.

Homemade. If you can sew, you may like to knit a scarf as a gift or a pair of leg warmers.

T-shirts/Apparel. You can take a trip to your local dance store, or look in a catalogue such as discount dance supply and find a shirt that says dance or has a dancer on it. Watch for a couple weeks to see what sort of clothing the person you are buying the item is for. wears. Do they wear things loose or tight fitting? Do they even wear t-shirts? Be careful when buying clothing for someone else.

Books/Videos - Another suggestion is to see what dance things a bookstore might have. A book or video on dance instruction might be something helpful. Just make sure it doesn't come across as an insult to the teacher's abilities. You may also find some classical music that could be used in the ballet class, or simply a calendar with dancers on it.

Posters/Prints - Many dance studios have posters or prints of dance on their walls. A nicely framed poster or print might be a nice addition the lobby or office of a dance studio. Or the teacher may want to hang it in their home. Likewise, dancers often collect posters.

Hair Accessories/Jewelry - Dancers must always keep their hair up out of their face, unless they are doing African or hip-hop, but typically hair is back. Ponytail elastics, hairnets, cute bobby pins, or even those pretty elastics with flowers that H&M sells are all gifts that are practical and something dancers are always running out of.

Jewelry, such as pins, necklaces, rings, bracelets, can be both a beautiful and pretty inexpensive gift.


Here are a few online stores that you might be interested in, and Head over to Danceadvantage.net for More Gift Ideas


Dance Teacher Press

You Go Girl Dancewear

Unique Ballroom Dance Gifts

Dance Extras Store

2011 Dance Calendars

Managing Winter Blues and Seasonal Affective Disorder

The winter months bring more than snow-covered landscapes. For many, these months bring long bouts with depression. Here are some ways you can fight back. Feeling blue? It may be more serious than a couple of bad days.

According to the article "Seasonal Affective Disorder" on the Family Doctor website, every year between 14% and 26% of Americans suffer from some sort of Seasonal Affective Disorder (SAD), also known as winter depression or winter blues. Between 4% and 6% of those individuals suffer from a severe form of SAD.

SAD is a form of depression brought on by the different seasons throughout the year. While people can be affected by SAD at any point throughout the year, SAD is most common during the winter months.

Symptoms of SAD

Some of the symptoms of SAD include:

Depression / Anxiety
Irritability / Crying for no reason
Change in appetite / Weight Gain
Fatigue / Low energy levels / Oversleeping
Social withdrawal / Loss of interest in favorite hobbies
Difficulty concentrating
You may be at greater risk for SAD if you are female, have a family history of SAD or live in climates with harsh winters and decreased sunlight.

Available Treatment for Seasonal Affective Disorder

For those who experience severe forms of SAD, there are a variety of treatment options available. These include (but are not limited to): light therapy, medication, psychotherapy. Light therapy involves exposing a person to an artificial light that mimics sunlight. Lights can be purchased for around $100 (see one example here) and are very portable and easy to use. Patients usually expose themselves to this light for approximately 30 minutes a day.

Note: While these lights can be purchased over the counter (or online), it is best to have a conversation with your doctor before usage (and use them as directed). Your doctor may want to supplement the light therapy with medication or psychotherapy.

SAD Home Remedies

For the remaining 8%-20% of Americans who suffer from a much milder form of SAD (often seen more as "winter blues" than an actual disorder), there are many lifestyle changes and at-home remedies that can be used to help bring a person through the winter months.

Outdoor Light – Studies have shown that outdoor light, even when it is cloudy and overcast, gives off more light than artificial light gives off in light therapy. Think about investing in some warm clothes and boots and taking a daily walk outside. When the days are at their shortest, consider using your lunch break at work to get in a mid-day walk. Keep your blinds and curtains open during the day and let natural light into your house as much as possible.

Exercise – Get your endorphins flowing! If possible, try to engage in outdoor exercise, but indoor exercise is better than no exercise at all. If you do not have a gym membership, think about investing in some workout DVDs. There are several free options online. Dave Farmar has yoga podcasts available on his website and Bridge Pilates in Brooklyn, NY have free pilates podcasts available here. You could create your own workouts as well, integrating different ab and arm workouts, stretches and at-home cardio (dancing, running stairs, jumping jacks, jump rope, etc.).

Healthy Eating – One of the symptoms of SAD is a change in appetite, very often having an increased craving in carbohydrates. Make an extra effort to put fruits and vegetables on your plate in the winter time. Keep a food journal to track what you are eating and drinking to help balance your food groups. Make monthly goals that include preparing new and healthy meals for you and your family.

Stress Management – Stress is a normal part of life, but learning how to manage that stress will keep you grounded during the dark of winter. Make an extra effort to keep your finances organized and your house clean and fresh.

Get Out – As much as the cold, dark days make you want to stay cozy indoors, get out and socialize! Make plans with friends, even if it is just getting together at someone's house for dinner. Socializing doesn't come naturally to people who are suffering from SAD, so making the extra effort (even when you don't feel up to it) will pay off in the long run. Consider saving some money and taking a trip to a warmer climate partway through the winter.

Spend Time With Friends

Socialising is another effective way to help you beat the winter doldrums. So, resist that deep urge to hibernate and make an effort to meet friends. Well, of course doing a big cook up is not that tantalizing on a cold day, but there is always the option to go potluck. There are added benefits to hosting a potluck dinner and clean up being a breeze is only one of them. The variety in the menu will be a nice change of pace from the typical heat and eat winter warmers gracing your dinner table.

Plan Your Next Summer Vacation

Just because the mercury has plummeted doesn't mean that you have to wallow in misery reminiscing the summer sun. What better way to spend the extra time indoors, than planning your next summer getaway. It will most likely take your mind off the cold and gloomy weather and perhaps help you grab an early bird deal. Well, booking in advance just might even allow you to afford that seemingly elusive special summer vacation - the one you longed for when the sun was high and hot.


Talk to Your Doctor – Nearly one out of every four people in the United States suffer from some degree of SAD. It is normal and nothing to be ashamed of. Even if your symptoms don't seem to be severe, a conversation with a professional is never a waste of time.

Take care of yourself this winter. Stay healthy. Stay happy!

Sources:

Mayo Clinic. "Symptoms of Seasonal Affective Disorder(SAD)"

MedicineNet.com. "Seasonal Affective Disorder"


How To Deal With Seasonal Affective Disorder by Howcast

Bunheads Review: Everything's Not Always Beautiful at the Ballet

Goodreads Synopsis: As a dancer with the ultra-prestigious Manhattan Ballet Company, nineteen-year-old Hannah Ward juggles intense rehearsals, dazzling performances and complicated backstage relationships. Up until now, Hannah has happily devoted her entire life to ballet.

But when she meets a handsome musician named Jacob, Hannah’s universe begins to change, and she must decide if she wants to compete against the other “bunheads” in the company for a star soloist spot or strike out on her own in the real world. Does she dare give up the gilded confines of the ballet for the freedoms of everyday life?

"Everything was beautiful at the ballet! Graceful men lift lovely girls in white. Yes, Everything was beautiful at the ballet." - A Chorus Line

Sophie Flack’s debut novel illustrates that everything isn’t always beautiful at the ballet. There’s grueling physical work, cutthroat competition and no time for a private life. Then, the curtain rises and everything is beautiful again.

Hannah is a self-described bunhead, not a ballerina. A ballerina is the star – dancing center stage in the spotlight. A bunhead is one of the girls in the corps de ballet – dancing in precision unison in the background. The dancers make the work on stage look effortless as they glide and jump and spin, but reading Bunheads, you get a picture of the intense physical effort that is behind the beauty. Bunheads also gives an inside look at the culture of professional ballet – a place where girls who need an “undergarment” (i.e. a bra) are to be pitied, where being thin can lead to extremes, a place where people with regular lives, not a part of the dance world – pedestrians – are mocked.

Hannah is starting to move from the background – she’s getting noticed and is on the verge of becoming a ballerina, a star, instead of a bunhead, a supporting character.Then, Hannah gets a taste of pedestrian life – sweet 19 and never been kissed - she meets a musician/college student named Jacob. There is an instantaneous connection between them. But, how is Hannah’s bunhead life going to ever going to allow room for a relationship with a pedestrian?

I really enjoyed Bunheads. It was interesting to see how the world of professional ballet was accurately depicted along with ballet terms that help a non dancer understand and picture different moves.

I enjoyed the struggle as Hannah tries to figure out where she wants to go in life, who she wants to be. For most of her life, she has identified herself as a dancer – but then she gets a taste of outside life through Jacob and realizes maybe it’s not as bad as she thought. But, how is she going to make the pieces of her life fit together? If she gives Jacob the attention he wants, her ballet suffers. If she gives ballet all her time, Jacob will be gone.

Where does she want to go now? She’s on the cusp of making the leap from bunhead to ballerina – but does she truly want that? She receives prospective from her friend Bea, who states that others have been promoted not because they are better than Hannah,but because they are willing to sacrifice everything else. Another pivitol moment comes when Hannah attends a little girl's dance recital. She sees herself in that young face full of hopes and dreams and wonders when was the last time she truly smiled from the heart. It is up to Hannah to decide what she will do. No one can decide for her.

Hannah’s decisions are difficult and life-changing and I can relate to her. Her story isn’t just a story about ballet, it’s about discovering what makes you happy, about making difficult choices, about finding yourself. Sophie Flack’s debut will obviously resonate with the bunheads out there – but it’s a story everyone can relate to, dancer or not.

The Origins of Salsa Dancing

By Jenny Bailey

Although salsa dancing originated in Cuba, it is not only a Cuban dance. Salsa actually takes its inspiration from several other dances. These include danzon, an English and French style of country dancing that was introduced by the French that fled Haiti, African rhumbas, flavora, a partner dance where partners move to the beat of the clave and finally Son, a Cuban dance which essentially mixes Spanish troubadours with African rhumbas. If all this sounds quite complicated then that’s because it is! Salsa is one of the hardest dances to define and many Puerto Ricans will argue that it was actually their country that invented it.

Salsa features a pattern of six steps danced over eight counts of music, making it similar to the mambo. Although both dance forms have several moves in common, the mambo is a forward and backward dance, while much of the emphasis in salsa is on sideways moves.

One can experience salsa in many Caribbean and Central American countries and all have their own variations of the dance. Countries like the Dominican Republic, Puerto Rico and Colombia took salsa bands to Mexico City, which at the time was producing lots of famous films by directors such as Perez Prado. Shortly afterwards, New York became interested in the movement and the term salsa was coined. Americans started using the name to describe any dance that was Hispanic in origin, and suddenly dances including the cha cha cha and the merengue were being described as salsa. The phrase became a catch-all to describe dances that were essentially blends of other Hispanic dances.

Nowadays the salsa most people will dance to in town halls up and down the country is more clearly defined. The bass of the music will be a Son and you’ll also hear some guarancha and cumbia in there. Salsa dancing still varies a lot depending on the location. In America and the UK, where people prefer dancing on the second beat, extra percussion has been added to Colombian songs so that participants can dance to the beat of the song, rather like a mambo.

Salsa is a dance that not only has various different origins, but it also incorporates different blends of music and dance. A salsa dancer from Puerto Rico would find it hard to dance the salsa in an American dance hall. Everyone is accustomed to their own style of salsa and this is one dance where all the different varieties should be cherished.

If you want to experience salsa for yourself then why not have a look at some of the salsa experience days offered by gift experience experts, Red Letter Days.

Human or Dancer? Technology's Effects on Dance

Imagine waltzing with someone who is 1,000 miles away. Or watching a ballet with no dancers at all, where wisps of light form the illusion of dancers performing. You are not dreaming. At places like Arizona State University (ASU), the University of Wisconsin-Madison (UW), and Texas Christian University (TCU), dancers are using computers and other multimedia technology to do that and more. "Dance has always existed within the context of society," says John Mitchell, ASU dance department faculty member. "As society changes, it reframes dance. Today, dance is framed by the technology that surrounds us."

Because society today heavily relies on technology, there are those who clamor for more dance on TV and film, for example, NYC Ballet's The Nutcracker being shown in theaters worldwide. While technology allows people to experience dance in ways that they could not many years ago, there is the risk that it could overtake the human, emotional element that defines dance, reminding us of the lyrics "Are we human or are we dancer?" Are we presenting true real emotion or puppets being manipulated?

On May 4, 2004, the Lincoln Centre in New York hosted a PBS centenary celebration/tribute to Russian-born choreographer George Balanchine, arguably the most influential figure in modern American ballet. His extraordinarily imaginative rendering of the classic Nutcracker, and his ability to take his dancers to unexplored dance territories, where they had to master exacting moves, are examples of the mentoring magic of a charismatic choreographer. Technology was not a crucial part of the Balanchine repertoire.

That being said, the incomparable Fred Astaire reveled in the flexibility and freedom technology provided for him on the cinema stage. In his later career, some of his most creative work was achieved by combining his dance skills with improvisational hand-and-leg illusions and with special effects made possible by film technology. While Fred exemplified an easygoing dance style, he was actually a tireless worker who used every device and resource to craft his timeless works of art. His autobiography, Steps in Time (1959), reveals an embrace of film technology.

Great dancing is not just about the mastery of movement, but the utilization of any means, including technology, to showcase human movement at its best. The astonishing productions of the Cirque de Soleil show just what can be achieved by using technology to push back the boundaries of innovative movement theatre.

Dance education causes students to use creative thinking. With the adaptation of technology in dance, creative thinking is broadened. The use of video and the Internet can cause a student to be more creative and to learn at his or her own pace, without being left behind in a normal dance class. Video can help students understand moves that they should be mastering in dance class. In a sense, video can help serve as a model for students and as a teaching tool for instructors.

The Internet can help students to comprehend the meaning of the dance they are attempting, as well as give them the power to interact with, and ask advice from, other teachers and students around the world. Some students, especially those with disabilities, may feel uncomfortable with movement. However, with the addition of technology, dance can bring about certain movements that previously could not be achieved among those with disabilities. Even with technological innovations, students are still able to enjoy the physical and health aspects of dance, because they must perform the dance physically.

The use of technology has allowed dancers to be more dramatic with their movements without seeming to over-emphasize the motion. The enhancement of dance is due to a combination of the advancements in customizing music, scenery, and lighting. The ability to add sounds, delete words, and slow down or speed up beats has given exaggerated dance moves a "beat" to hit, which adds attitude to a performance.

Rather than detract from dancers, the scenery and lighting in performances have actually drawn more attention to the body, by covering many imperfections, while allowing the body to become part of the story that is told with the music and backgrounds. Since technology has become such a vital part of everyday lives, it is probable that it will also be used to enhance the elements of dance.

The ability to film, photograph and record dance is important to perserving the history of dance. Through videos, dvds and  YouTube, dance educators and students have the ability to watch the dance performances of the many dancers/choreographers that helped shape dance. It allows us to document choreography, movement style, costumes and music used for each piece outside of writing them down.

Cons

Technology can detract from the human element because there is no emphasis on incorporating dance into our curriculum. As a result, very few physical educators are educated as well as they should be about dance. The advanced technology allows some teachers to take a break while the VCR, television, or computer performs some of the duties that a teacher is hired to do.

What would it feel like to watch robotic, programmed, perfect dancers instead of human live ones? Would anyone be better without the human bond between audiences and performers?

Our society is changing every day. We now rely on technology for a number of things. With the new conceptions of technology being applied to dance, we must look at how this will affect the human element of dance. The human element is changed because people who once went to teachers to learn are now relying on videos to teach them. This has the advantage of making it easier to learn some dances, because people can practice them at home. However, videos/dvds should never replace going to a live dance concert. Watching dance live is a totally different experience and there is nothing like it. You feel the energy of the audience, the anticipation of the curtain opening and of course the dancers moving across the stage with strength, grace and emotion.

In the past, however, there was more emotion in the art of dance. People danced the way they felt, and different variations of movement were used. Technology is now trying to duplicate the one-on-one learning experience and mass market it to everyone. This use of technology is homogenizing the cultural influence of individuals on dance. Some things should be kept original and kept from the changes of our new society. This is one.

Dance is an expression of a person's inner being. Dance allows a person to act alone, with a partner, or in a group. When people express their feelings through movement, the human element soars. When and if technology blocks or stunts the expression of human feelings, dance runs the risk of losing its spontaneity.

Technology helps preserve dance history, but we cannot forget about all of the great books on dance history as well. There are so many dance writers, critics and dance historians that can teach and inspire through the written word.

The use of technology does not necessarily detract from the human element of any activity. It is when people allow the technology to infiltrate their thinking that technology may hinder the human aspect of movement. This is true in dance, sport, and all forms of human movement. The trick is to use the science of technology to enhance the art of human movement, not stifle its creativity. Yes, you can study dance and movement, but how can you analyze "joy"?

In today's world,  physical educators must provide students the opportunity for expression through dance. Dance provides an outlet for beauty, form, and free will. Technology can augment human movement as long as it is the technology that is used by the human element, not the technology that directs the human expression through movement.

Merging Social Issues with Dance: Anna Sokolow

"I felt a deep social sense about what I wanted to express, and the things that affected me deeply personally [are] what I did, and commented on." Anna Sokolow

ANNA SOKOLOW (1910-2000), a dancer and choreographer, was a major female figure in modern dance in America.

A key figure in the development of modern dance in both Israel and Mexico, Sokolow worked in numerous countries, from Holland to Japan. She also worked with a variety of theater forms; in addition to regular involvement with both Broadway and off-Broadway stage productions, she often experimented with combining dance, mime and the spoken word into a single piece.

She believed passionately that dance could and should be used to express and explore contemporary social issues, and her choreography explored themes ranging from the Great Depression, to the Holocaust, to the alienation of modern life.

EARLY LIFE AND TRAINING


Sokolow was born February 9, 1910 in Hartford, Connecticut, to Russian immigrant parents. The family moved to New York City when she was two. Her early childhood was difficult; her father developed Parkinson's disease and her mother had to work in the garment industry to support her family.

From about the age of ten, she began attending dance classes sponsored by the Emanuel Sisterhood of Personal Service on the Lower East Side. She fell in love with dance. At about the age of fifteen, she went on to train full-time at the Neighbourhood Playhouse, where she studied with the likes of Martha Graham, Blanche Talmud and Bird Larson.

She started her professional career in 1929, joining Martha Graham's company. She stayed with the company until 1938. During that period, she also studied with Louis Horst, Graham's partner and musical director, quickly becoming his most outstanding composition student and his assistant. By 1936, she had started her first company, Dance Unit.

DANCE AND THE SOCIAL CONDITION

Sokolow was influenced by having grown up in the Lower East Side, among the left-wing movements of New York's Jewish immigrant communities, where she became very much aware of political and social injustice. Thus, it was not surprising that from the beginning of her career, she aligned herself with the radical dance movement. Throughout the 1930s and 1940s, she performed and choreographed many solo and ensemble pieces, works that explored the social, political, and human conflicts of the time, such as Anti-War Cycle (1933), Strange American Funeral (1935) and Slaughter of the Innocents (1937). She was also linked with the socially conscious collectives the New Dance Group and the Workers Dance League.

Sokolow herself said that her intense, theatrical style was only fully developed in the 1950s. In the following decades, she would create a body of work that challenged her audiences to reflect on, and react to what's happening in the world around them. For example, one of her major works, Rooms (1955), dealt with urban alienation. Another work, Dreams (1961) was based on the horrors of the Holocaust. Her other well-known modern dance works include Lyric Suite (1954), Odes (1965), Opus 65 (1965), Ballade (1965) and Deserts (1967). Her dances were often called alienated, reflecting the anxieties of modern life.

In the late 1950s, Sokolow became the first modern dance choreographer to have her work, Rooms, shown on national television. And, in 1971, she started an evolving unit, the Players Project, to perform her works and produce her new pieces.

INTERNATIONAL WORK

Sokolow's work was not limited to the United States. In particular, she played a significant role in the development of modern dance in Mexico and Israel. She was also invited to many other countries, including Holland and Japan.

Her connection with Mexico came as early as 1939 when she was invited to teach and perform there. She would spend half of each of the next nine years in Mexico, and was instrumental in establishing Mexico's National Academy of Dance.

In 1953, she began a similar arrangement with the Inbal Dance Theatre in Israel, teaching and choreographing for them. In 1962, she established the Lyric Theatre there.

BROADWAY

As a choreographer, she was very versatile, putting on diverse works. Her choreography for the Broadway stage was noteworthy, and includes Street Scene (1947), Regina (1949) and Candide (1956). In 1967, she choreographed the original (off-Broadway) production of Hair.

TEACHING

Teaching was another area that Sokolow made her mark in. She was a faculty member of The Juilliard School, where she taught what she called "method dancing" from 1958 to 1993. She also taught at various other American colleges and universities, including Bennington, Ohio State, Radcliffe, Smith, and Sarah Lawrence.

She was a founding member of The Actors Studio, where she taught dance and movement to actors. She also trained actors at the Lincoln Center Repertory Theatre School and the HB Studio. Among her students were Richard Boone, Faye Dunaway, Julie Harris and Jean Stapleton.

DEATH AND LEGACY

She passed away in her home in New York City on March 29, 2000, at the age of 90, much admired and honored for her contributions to modern dance.

Among the many awards she had received over the years were Honorary Doctorate degrees from Ohio State University, Brandeis University and the Boston Conservatory of Music. She had also been awarded a Fulbright Fellowship to Japan. For her work in Israel and Mexico, she had received a Lifetime Achievement Award from the American/Israeli Cultural Foundation, and the Encomienda, Aztec Eagle Honor (the highest civilian honour awarded to a foreigner by Mexico). Other awards include a Dance Magazine Award, the Samuel H. Scripps American Dance Festival Award, and induction into the National Museum of Dance's Dance Hall of Fame.

Although Anna Sokolow's company, the Players' Project, was dissolved in 2004, her works continue to be performed by the Sokolow Theatre/Dance Ensemble under the direction of her protege, Jim May, as well as numerous other companies around the world. Also, several of her works were filmed and are held at the New York Public Library in its Dance Division.

Even when dealing with the darkest of subjects, Sokolow's appreciation of the dignity of the human spirit and its resilience in the face of trouble and despair was evident. As a reviewer wrote in 1967, "Miss Sokolow cares—if only to the extent of pointing out that the world is bleeding. I find hope in such pessimism.

Anna Sokolow in "Bullfight"