Benefits of Creative Arts Therapy for Special Needs Children

By Chera Prideaux

Step into Seattle art therapist Mineko Takada-Dill’s studio and you’ll find an array of paints, clay, pastels, charcoal and textured papers. She uses these materials to help her clients let their guard down and experience the therapeutic benefits of art.

Who hasn’t felt relaxation, focus and a sense of accomplishment while working on a creative project? For a child with special needs, the therapeutic benefits are much greater. Creative arts therapy is a broad field that includes visual arts, music, dance, poetry and drama.

The arts are an increasingly popular way for children with special needs to overcome difficulties and take pride in a new skill. Takada-Dill finds that the visual nature of art therapy is especially beneficial for kids who have trouble communicating in other ways. Some of Takada-Dill’s favorite projects include creating storybooks, masks and collages. This is an effective method for getting kids to identify and deal with difficult emotions such as anger, frustration and sadness.

Music Therapy for Kids

 Children who aren’t as visual may find that music therapy is helpful for improving speech, cognitive development, motor skills and communication. “Music therapy helps children of all ages and disabilities, especially children who are particularly auditory,” says Jennifer Hastings, a Seattle neurologic music therapist. Though some people may think they need natural talent to play music, Hastings disagrees. “I became a music therapist because I wanted to make music accessible to everyone,” she says. She has helped make music an approachable way for kids with special needs to gain skills they may not pick up in a traditional school setting, including communication and social skills.

 Hastings works with several kids who are more comfortable expressing themselves with music rather than verbally. “An improv music session is very similar to the back-and-forth nature of a social interaction,” she says. Anne Powers’ stepdaughter, who has autism, worked individually with a music therapist.

Powers, a Lake Stevens mom, saw tremendous gains from the one-on-one attention her stepdaughter received. “Music kept her very focused and trained her brain to stay on task and filter out distraction,” says Powers. “We saw improvement in her problem-solving ability, frustration tolerance, creative expression and dexterity. She can now play some of her favorite songs and she can express her moods with her playing, something she cannot do verbally.”


Children's Dance Therapy

Children with special needs often display characteristics or move in a certain way that can be seen with some observation. Scientists have found out that to understand someone else, a person needs to be able to mirror what that other person does. For example,  when someone speaks to another, you sometimes see that the one who is listening is moving his or her mouth too. This is happening with everyone but most of the time it is an inner movement. These scientists found out that by this inner movement, we can understand what others are saying. If a child’s sense of movement is not developed properly, he or she is not able to mirror, and this may lead to difficulties in learning to read or write. Music and dance can be a powerful combination.

According to the American Dance Therapy Association, dance therapy has been around for more than 50 years and helps connect the body and mind. It’s also effective for individuals with developmental, physical, social, psychological or physiological impairments. Emerald Ballet Theatre (EBT) in Bellevue offers dance classes for kids with special needs.

Today, most of these children are successfully integrated into classes with the other dancers. This gives the “exceptional dancers,” as they call them, a way to interact with others and feel included. “It’s remarkable how well the integration works,” says Sarah Jacobsen, an EBT instructor. “We expect all of our students to strive to be inclusive, and it’s really been worth the effort.”

Amina Condel’s daughter, who is autistic, has thrived during her participation in classes at Emerald Ballet Theatre. "Even though the dance classes are not technically ‘therapy,’ they have been very therapeutic,” says Condel, who reports that her daughter has improved her gross motor function, memory, social skills, speech and cognitive skills. “She loves being a part of the production and feels valued,” she says.

 Rosalie Frankel, an arts therapist at Seattle Children’s Hospital, says that finding an arts therapist in Seattle may be difficult compared to other places in the country, but worth the effort. “It’s really beneficial for so many kids.” Children with disabilities often possess creative gifts that they aren’t able to express until they are put in the right environment. “The arts are a magical place where these kids can really shine,” says Jacobsen.

Chera Prideaux is a Seattle freelance writer and mother.


Creative Arts Therapy Resources for Kids
Mineko Takada-Dill
American Music Therapy Association
Seattle Children’s Hospital
Jennifer Hastings
Emerald Ballet Theatre
Evergreen Art Therapy Association
American Dance Therapy Association

Virtual Dance: Can Technology Ever Replace the Human Body?

By Eric Wolfram

 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."

At ASU, dancers are certainly surrounded by technology. All dance majors are required to take a class to become familiar with professional-level creative design tools. They click away at software like Flash, Final Cut Pro, and Photoshop to produce head shots, videos, and resumes on DVD. The dance department's Multimedia Learning Center is equipped with eight Macintosh G4 computers to help students compose sound scores for their choreography and build Web sites for the purpose of putting their resumes online.

In 1983, Dr. Judith Gray, then assistant professor of dance at UW, organized the first UW Dance and Technology Conference so that dancers throughout the country who were beginning to work with technology could share information. In her book Dance Instruction: Science Applied to the Art of Movement (1989), Gray coined a word to describe one effect of technology: "`Illusionism' ... is defined as realism protracted to a point where the real and the non-real are indistinguishable," she wrote. "Ilusionism will be a movement style that aims to confuse the observer as to whether what is seen is object or artifice." Gray, now on the faculty of Antioch University in Seattle, says, "I believe that dance audiences are ready for such an innovation, including the philosophical discourse and choreographic challenges that accompany such a revolution."

Ready or not, illusionism is becoming a reality. Today we see dance not only on the concert stage but also in music videos, commercials, movies, and video games, where animated characters dance in worlds that can only exist on the screen. And at universities across the country, dance technologists are researching dance performances of the future.

MFA students at ASU, for example, have access to real-time, three-dimensional motion-capture facilities. Dancers wear special suits with small reflector balls aligned to every joint of their bodies so that infrared sensors located around the space can record their exact movement into a computer. This data can be used to manipulate "cyber-humans" in virtual spaces, in order to apply authentic movement quality to animated characters in movies, commercials, and video games.

At UW, a black box performance space is wired with a slew of networked equipment: video monitors, mixers, cameras, projection screens, PA systems, and microphones. It's a malleable space where UW dancers collaborate with other dancers on similarly equipped stages at the University of California--Irvine, the University of Utah, Ohio State University, ASU, and others in simultaneous performances via the Internet. Choreographers use Max/MSP software to control motion- and sound-sensing switches that are placed in and around "intelligent stages." As the dancers move, they trigger lights, sound, or other effects on both their local stage and in the remote spaces. The dancers respond to the triggered effects and thus explore the human connections now possible between dancers who are thousands of miles apart.

ASU graduate student Nancy Happel is grappling with the question of how dance companies might pay for such an "intelligent space" when they often barely have money to pay dancers. Happel's graduate thesis will be a manual on the use of free software to create low-budget telematic performances, something she calls "guerrilla telematics."

Telematics, she explains, is a Web cast made by placing a video conference call between two or more dance performances, so that dancers in those locations can react to each other's video projection and, thus, dance together. The performance is viewed by audiences at all locations, but each gets a different experience and perspective. At one location, it may appear that the real and projected dancers are moving together, while at another, they may be dancing in canon because of lag time, the delay inherent in current video-conferencing technology.

Guerrilla telematics will still cost money, but Happel's goal is to keep the budget comparable to what a dance company already pays for sets and lighting. By making it affordable, she hopes this technology will be explored by the dance world at large, not just by universities.

Much has happened since Dr. Gray's first dance and technology festival, including the advent of data streams, bandwidth, digital sensors, Macintosh G4 computers, and DVDs. But why should a dancer bother with all this? Dancing requires years of intense focus and training just to develop technical excellence in one's own body. Should dancers now expect to become proficient on computers as well?

Dr. Keitha Donnelly Manning, from the department of ballet and modern dance at TCU, says software tools, such as Life Forms, can help economically by allowing a choreographer to create and edit movement sequences on a computer prior to assembling a group of dancers. "Studio time is limited and expensive. The more you can do on the computer beforehand, the better," she says. At the same time she emphasizes that she doesn't believe the computer replaces the physicality of dance. The multimedia classroom that Manning helped design at TCU includes a dance floor as well as fifteen computers, so that choreographers can easily go back and forth between developing movement in their bodies and on the screen.

Computer technology can save choreographers time and money and help dancers compete for jobs and funding. But when does technology support the art and when does it detract from it?

"Every art form changes because of changes in the culture," says Joe Koykkar, coordinator of the UW Interarts and Technology Program, "and this is a driving factor in why dancers and choreographers are looking at technology today. Technology allows people to experience the arts in ways that they couldn't twenty years ago. The performing arts flourish when artists integrate what is happening in the culture at large."

But the question remains: Are we simply adding unneeded gadgetry to the arts? "Sometimes," Koykkar admits. "The boundaries are still being discovered." It is far too early to predict how technology will ultimately affect the art of dance, just as we couldn't know in 1920 that radio would point the way to electronic music. Before we can know exactly where all this is leading, Koykkar suggests that we'll have to wait for the technology and artists to fully develop.

Eric Wolfram is an emerging digital filmmaker. He started and operated a successful technology business and danced professionally for nine years.

Floating to Health With Deep Water Aerobics

Water fitness classes are not reserved for the pregnant or elderly. Exercising in the water offers an intense cardiovascular challenge with significant strength training benefits. Deep water aerobics is a particular type of water fitness that can help anyone, even elite athletes, stay in shape.

What is Deep Water Aerobics?

Deep water aerobics is a cardiovascular exercise performed in water deep enough so that you do not come in contact with the bottom of the pool. A flotation device, such as a buoyancy belt or pool noodle, is usually used to free your hands and legs to perform large movements against the resistance of the water. Some moves commonly done in deep water aerobics classes include jumping jacks, knee tucks and scissors.

Benefits

Working out in water reduces the weight of your body by 90 percent, explains the American Council on Exercise, reducing the weight borne by your knees, hips and ankles during exercise. Deep water aerobics can help those with arthritis or joint injuries achieve a cardiovascular workout. Water provides about 12 to 14 times more resistance than air, helping you to build muscular endurance during your routine without using bulky weights. Deep water aerobics also improves flexibility and circulation. Deep water aerobics, including deep water running and group exercise classes, take the pressure off your bones and joints and allow you to participate in an effective cardiovascular workout. The benefits don't stop there, though. According to resources such as the American Council on Exercise and Centers for Disease Control and Prevention, deep water exercise improves strength, flexibility and even mental health. Grab your flotation belt and dive right in for an effective workout.


Improved Cardiovascular Fitness

According to the Centers for Disease Control and Prevention, adults need at least two and a half hours of moderately-intense cardiovascular activity each week. Deep water aerobic exercise effectively helps you meet this recommendation by providing an impact-free alternative to walking or jogging if you suffer joint pain or immobility. If you're most interested in the weight loss benefits of cardiovascular activity, water aerobics burns between 400 to 500 calories an hour, making it an effective activity option.

 Deep water exercise also effectively helps pregnant women maintain their cardiovascular fitness levels throughout their entire pregnancies, as noted by the American Academy of Family Physicians. Pregnant women can continue performing this non-weight bearing exercise at high-intensity levels up until they give birth, unlike running or other exercises that require impact.

 Improved Strength

 One benefit unique to water aerobics is the resistance that is added to every movement. Whether stepping your foot forward or backward, moving your arm one way or another, you will meet resistance in the water. Deep water aerobics is particularly effective in providing a full-body strengthening routine because your entire body is submerged, emphasizing the resistance to every move. Make the most out of deep water exercise by adding water dumbbells or gloves to increase resistance further and strengthen and tone your muscles.


Improved Flexibility

The American Council on Exercise cites improved flexibility as one of the key benefits of water exercise, and because flexibility is one of the five components of fitness, increased flexibility will contribute to better overall health. Water provides buoyancy, enabling your joints and muscles to move more freely in different directions, allowing you to lengthen your movements and perform stretches that you might not be able to perform on land. During deep water exercise you are suspended in the water, removing gravity evenly from all your joints and allowing your entire body to benefit from an increased range of motion and heightened flexibility. Make the most of your deep water workout by following up your cardiovascular and strength-training session with at least 10 minutes of stretching.

Considerations

Some deep water classes use paddles, kickboards or buoys to create additional resistance and make the workout more challenging. Before attending a class, talk to your instructor and inform them of any physical limitations you may have. You may also ask them about their particular expertise and certifications to make sure they have the knowledge to help you get the best out of the routine.

Caution

When working out in the water, your heart rate registers lower than it does on land. Use perceived exertion, rather than heart rate zones, to evaluate your intensity. Be sure to hydrate during your routine. You are not sweating so fluid loss is less evident, but dehydration can occur.


References

• ACE: Make a Splash With Water Fitness
• CDC: Health Benefits of Water-Based Exercise
• AEA: How Many Calories?
• CDC: How Much Physical Activity Do Adults Need?
• AAFP: Exercise During Pregnancy
• American Council on Exercise: Making a Splash with Water Fitness
• United States Water Fitness Association: Information Regarding Water Exercise

Your Creativity: Finding, Using and Nourishing It

"The Creation of something new is not accomplished by the intellect but by the play instinct acting from inner necessity. The creative mind plays with the objects it loves." - Carl Jung

Creativity. Do you know where yours is? It is not as easy to find as your knee cap or your car keys. In fact, the desire to create is probably buried somewhere deep inside of your soul.

Everyone has a different idea as to what creativity is and what importance it has in a person's life. Merriam Webster defines creativity as:

1. The quality of being creative.

2. The ability to create.

But what is creativity to you? Creativity is not just reserved for suffering artists, musicians, writers and poets but is inside of each one of us. The baker in the neighborhood, the parent helping their child color and the store clerk arranging a display, all of these people are creating.

Creating is where we find a way to express ourselves; it is a refuge from our everyday stressors. Creating empowers people, builds their confidence and heals which is essential to body, mind and spirit. Everyone has a wealth of creative abilities, sometimes we just need to look for them and believe in our abilities.

People are fearful when it comes to creating. For many it seems frivolous, they fear failure, they don’t want to be thought of as silly, or they fear that they will find they aren’t creative at all. Unfortunately, far too many people believe that they are not creative; that creativity is only connected with professional, and often famous, people in art, music, literature, and theater. However, isn't there some skill that you do better than most people? Do you raise spectacular roses in your garden? Have you decorated a room in your house that others admire? Can you grill something fabulous for a special get-together?

Creativity is just the ability to take pre-existing ideas, rules, patterns, or relationships and transform them into something new or different.

The greatest block to our creativity is the environment and technology. When radio first began programming shows like Gunsmoke and Dragnet, families gathered around the radio and listened to the show. They used the words, vocal tones, and sound effects of the production to create a mental picture. When television became a popular media, families gathered around it and watched the story unfold. No longer did the brain need to create a mental picture.

Since the first television programs were broadcast in black and white, viewers could still use creative imagination to determine whether the car in a scene was green or blue. When color television became affordable, viewers no longer needed to imagine what color that car was.

Technology has now invaded our vehicles to eliminate boredom as families travel. No need to play the license plate game, see who could find the next purple object, or watch for "punch buckets" and "slug bugs."

A second block to creativity is worrying what other people think, or what they will say. This concern starts in school when a teacher comments on a students ability: the music teacher that tells a child he can't sing; an art teacher that criticizes a student for coloring the cow purple, or the English teacher who chastises a student's poetic efforts because the poem lacked meter or rhyme.

The third block to creativity is yourself. We tend to be our own worst enemy. Far too many people compare themselves to others. They don't share an idea for improved sales at work, for example, because they think other people always have better ideas.

Everyone has been taught to follow the rules by parents, teachers, and peers. The voices that remind us of these rules are powerful and keep us on the socially-acceptable path. Most of the time, these voices are helpful and keep people from doing things they might regret later. For example, Sam attended the company picnic, but unfortunately he had a little too much to drink and made a fool of himself during the sack race, putting the sack over his head. Sam's co-worker recorded the event on his cell phone and broadcast it on YouTube. Had he listened to the voices in his head, he might have stopped at two beers.

These voices, however, become the speed bump of reality when a person is attempting to be creative. It is necessary to learn to turn off these voices down or off to allow your creative imagination full expression.

Key Elements of Creativity In a study done at Exeter University, researchers determined that there are five key elements in creative or talented people.

Opportunities - People need the opportunity to be exposed to something. If a dancer is never exposed to ballet, it follows that an interest in dance would not develop.

Encouragement - In order to explore our creativity, people need the support of people close to them: parents, teachers, peers, spouse.

Training - Although a person may be interested in orchestral music, he/she needs training to be able to play the instrument of choice. Therefore, training is an essential component of creativity.

Motivation - Ultimately, an internal desire needs to be present to allow for creativity and talent to develop.

Practice - This is probably the most important element of the five. Without practice, a child would never become proficient at riding a bicycle, hitting a golf ball, or shooting a basket.

It should, however, be understood that even though a person may have each of the five key elements, another person may be more proficient in terms of their creative abilities. That just means that everyone has his/her own level of creativity and how they use it.

Rediscovering Your Creativity

Far too many adults have allowed their creativity to become buried deep in the soul, but there are ways to coax it out of hiding. The following methods can be used to help rediscover your creativity.

Do one thing differently each day. Take a different way home from work. Read the last article in the magazine rather than the first.

Do something unexpected. On your way home from work, smile at the person in the car that pulls up next to yours at the stoplight. Wave at someone waiting at a bus stop.

Experiment with word games. Purchase the Games magazine or other word play books and actually work your way through them. Play board games such as Pictionary or Scattergories. Even playing 20 Questions can exercise creativity.

Look for some "What ifs" in your life. What if I re-arranged the living room? What if I added some garlic to the water when I boil spaghetti?

Occasionally, say "no" to technology. Ride a bike to a nearby coffee shop and enjoy the scenery. Turn off the television and read a book. Listen to old time radio dramas.

It's time to examine what is blocking your creativity, and then, take some small steps to coax your creativity out and into the open.


Feed Your Creativity.

Along with exercise, creativity also requires good food to grow strong. Feed it with experiences, books, music, and art. Expose yourself to other people's creativity. Give yourself experiences that stimulate your imagination. Take lots of field trips. Try to take some alone, just for you. Notice what happens. Follow your nose and pursue ideas and events that intrigue you. Make sure there's space in your life to feed your curiosity.

 Give Yourself Some Down Time.

Call it your "time out." Put your head down on the desk and close your eyes, just like you did when you were in elementary school. Take a long soak in the tub, with bubbles. Take a solitary walk. Guard your quiet time and take good care of it. Put it on your schedule and stick to it.

 Capture Your Creativity

 Find ways to preserve your creative thoughts and ideas. Keep a daily journal or a sketchbook. Or, if you tend to be technology-oriented, keep a tape recorder handy to record your thoughts. Try to do this every day for one month (it helps to do it at the same time each day). Don't read your journal until the month is up and don't show it to anyone. Write about anything that comes into your head; don't judge yourself. See what happens. 


Reward Creativity

Celebrate often. Develop your own rituals for celebrating, whether you are observing a traditional occasion or a special accomplishment. Give yourself creative gifts, whether they be material or experiential. Reward yourself well and often. Encourage others to reward you, too, and include them in your celebrations. Want to know what your creative style is? Take this fun and pretty accurate test: here

Sources

Howe, Davidson, and Sloboda. "Innate talents: Reality or myth?" as cited on eZineArticles.com.

"Blocks to Creativity" found on CreatingMinds.org.

Dance and Self Identity: What Happens When it's Time to Retire?

By Courtnay Veazey

At Right - Darci Kistler Takes Her Final Bow With The New York City Ballet

One of the most difficult times of transition a professional dancer will face is retirement – especially since it usually occurs at a young age. Most dancers end their careers before the age of 40. Reseach has shown that many dancers face retirement from dance with little knowledge or formal preparation for other careers. Along with lack of preparation regarding their transition, retiring dancers experience strong emotions, such as anger, frustration, depression, fear, and grief.

An international surveyconducted in 2000 by Columbia University’s Research Center for Arts and Culture confirmed “the common notion that the end of a career in dance is ‘one of life’s little deaths’ that dancers often say they must mourn the loss of before they can continue in another career”. This same survey also confirmed that dancers feel more satisfied in their post-retirement careers if they fully prepare themselves for retirement compared to those dancers who do not prepare themselves. South African researchers conducted semi-structured interviews with professional ballet dancers and discovered that retiring dancers usually do not view retirement as a growth opportunity.

They become intimately connected with the grief aspect of this transition and the fear that normally comes with a change and forget about the growth aspect and the talents and skills they have to offer. Also, upon retirement, dancers experience exclusion and self-doubt as a result of finding “themselves in competition with other ‘normal’ people, who are usually in the middle of their careers or even picking up the results of an already established career.  Feelings of being unprepared and feelings of anger, frustration, depression, fear, grief, loneliness, and self-doubt can be overcome by processing those emotions with a mentor and/or a counselor. Thankfully, the dance community recognizes this need for support and encouragement, and a wonderful organization exists specifically for dancers facing career transitions. This organization is Career Transition for Dancers - http://www.careertransition.org/Programs/

Dancers experience intense emotions when processing retirement because they tend to sacrifice personal development, which leads to weakened self-identities. In other words, dancers forfeit time with friends, family, and educational institutions (i.e. high school and/or college) to solely focus on dance, which in reality is only a small part of their identities. Yes, dance is an important aspect of their lives, but due to intense training, rehearsing, touring, and performance schedules, dancers sometimes forget to develop other aspects of their identities. This intense focus on only one aspect of their lives leads to much more intense loss when retirement occurs.

 So, pre-professional and professional dancers, take time to focus on the other parts of who you are. Take a night class at a local or online university. Become involved with different volunteer efforts. Develop hobbies, such as photography, reading, writing, etc. Most importantly, while you’re taking time to focus on these other aspects of your identity, realize that everything you engage in is purposeful and ultimately preparing you in some way for a life off the stage. Some of you younger dancers may be participating in intense training and therefore do not have time to engage in other activities. That’s okay. Just be sure to make an effort to recognize your interests outside the dance realm. The mere knowledge that you have an interest in other things is just as important because those interests could become a secondary career choice in the future. Also, by being able to recognize your other interests now, then you will not be left offstage asking “Well, what else do I like? What do I do now?”

 Here are a few activities that you can do pre-retirement to help you prepare for and successfully manage the emotional turmoil that can stem from this transition – whether that transition is next year or ten years from now.

1. Know what stage you’re experiencing.


Pre-Stage 1 – Original Doubts: You realize before becoming a professional dancer that this career (or role) would be temporary due to injury, the aging process, and intense competition. Therefore, you plan for another career before becoming a professional dancer. (If you experience this stage, then you typically experience a smoother transition post-retirement and enter directly into Stage 2.)
Stage 1 – First Doubts: You begin to doubt your commitment to being a professional dancer by realizing this role will not last forever. This questioning can occur as a result of burnout, injury, layoff, illness, or company restructuring.
Stage 2 – Seeking Alternatives: You begin looking for and consider alternatives to your current role as a professional dancer.
Stage 3 – The Turning Point: You make a voluntary or involuntary decision to exit your role as a professional dancer. Involuntary decisions occur because of layoffs, career-ending injuries, or illnesses. Also, during this stage, you announce your decision to leave your role and assemble the emotional and social support you need to act on that decision.
Stage 4 – Creating the Ex-Role: You learn how to be you without the role of dancer prominently attached and begin learning how to incorporate your past identity into your present and future identity. This stage is an intense process and takes time.

 Consider the following questions regarding your current stage: How does it feel to be in that stage? What questions do have about the other stages? What do you see yourself doing to successfully move into the next stage? What’s preventing you from doing those things? What emotions do you feel when you think about moving to the next stage?

 2. Explore your self-identity through a freewriting activity. For ten minutes, write whatever comes into your mind about your self-identity. Don’t stop to critique what you write. Just keep writing as much as you can get down. If you get stuck, keep writing – write ‘I’m stuck,’ or ‘I don’t know what else to write.’ Most importantly, keep your pen moving. After ten minutes, read through what you said. What did you learn about yourself? What are you missing? How will you fulfill those missing components? What are your strengths? How can you use those strengths in areas outside of dance?

 3. Create a collage that reflects how you presently feel about retirement and how retirement makes you view yourself. After creating the collage and recognizing some of the emotions present in it, say out loud to yourself, “I will not allow retirement to make me feel _____.” Fill in the blank with anything (i.e. lonely, ugly, unimportant, sad).

 4. Complete the following statement: “If I hadn’t become a dancer, I would have _____.” Explore that variety of interests that you use to fill in that blank via a part-time job, volunteering, or an educational outlet. 

5. Research the multitude of resources at Career Transition for Dancers – http://www.careertransition.org/OnlineResources/TransitionLinks/ – based upon the area in which you’re lacking information, such as career counseling, resume writing, dance education resources, college guides, performing arts unions, etc.

 6. Share what you learn with someone – either a fellow dancer or a trusted friend. You are not alone in this process.

7. Explore other careers in the dance field such as teaching, choreographing, costume designing, administrative office work, photography, journalism/criticism and dance movement therapy.



Courtnay Veazey is a graduate student who finishes her coursework for a Master of Science in Clinical Mental Health Counseling in May 2011. She is a member of and regular blogger for the American Counseling Association. Other professional memberships include the Mississippi Counseling Association and the Association for Creativity in Counseling. Her counseling interests include body image, self-esteem, career transitions, and the mental health of ballet dancers. Courtnay is an arts advocate, ballerina, and amateur photographer. She and her husband live in Oxford, MS with their miniature dachshund, Daisy. You can follow Courtnay on Twitter at @balletcounselor

Conquering Dance Audition Nerves and Performing Well

You have an audition that might get you into a certain company, intensive, or land a dream role. You walk  into the audition room feeling confident. But somewhere along the way  lose your focus, letting negative thoughts overwhelm you and end up blowing the audition.

Every. dancer has been through this kind of frustrating episode, walking out of the room wondering, "What happened? Why couldn't I concentrate?" Just like your body, your mind has to be in good shape. It you haven't learned how to find your equilibrium in an easy situation, how will you manage during a stressful callback?

Be Prepared –Have everything you need for the audition. This includes proper shoes, band-aids or moleskin, proper attire, a photo and resume, if required, and more. Being prepared will help you feel confident when auditioning.

Prepare Mentally –With mental preparation, anything is possible. Take a few minutes to mentally prepare yourself and focus before an audition.

Dress Appropriately –When auditioning, dress for the job. For example, a dancer should dress differently for a hip-hop video audition than for the lead role in a video production of “The Nutcracker.” When possible, look “performance ready.” Find out the specifics and come to the audition dressed appropriately. In fact, it is a good idea to bring extra clothing, make-up, and hair accessories so you are able to change your look at the audition if necessary. You will help the audition panel “see” you in the part.

Do Not “Hide” – Do not hide in the back while learning choreography. The audition panel will appreciate seeing you learn the combinations. It gives them an idea of how you learn. Many times a lesser dancer who is a quick learner may win the part simply because the rehearsal time is short and the audition panel needs dancers that learn fast.

Ask Questions – Do not be afraid to ask questions. The audition panel will not think asking for help or clarification is a sign of weakness. It will show that you want to do your best. Do not ask silly questions or questions just to attract attention. Also, do not ask questions already answered. That will show you do not pay attention.

Do Not Change the Choreography – You may have a great idea of how to make the audition combination better, but resist the temptation to do it during your audition. The audition panel will not appreciate it and you may come off as difficult to work with. You will also alienate the choreographer and accomplish nothing but ruining your chances of getting the part. Perform audition combinations as taught.

Perform With Stage Presence – Perform as if you are actually on stage or on camera dancing the part when auditioning. Smile and use facial expressions and emotions. Let your confidence and dynamic personality come through. Use your eyes and look at the audition panel. Perfect technique will not get you the part if you cannot connect facially with the audience.

Take Corrections Well – A choreographer correcting you can actually be a good thing. If the choreographer or someone on the audition panel is specifically giving you corrections, it means they are paying attention to you and they like you. They would not take the time to correct you if they were not interested in you. Feel good about corrections.

Do Not let Mistakes  Show – If you make a mistake during a combination, do not let it show to the audition panel. Do not stop dancing or make a face. Many times the audition panel will have no idea you made a mistake – unless you let them know by “showing” it. If you look confident in your movement, the audition panel may even think the other dancers messed up and you did the combination correctly.

Take Notes - I've always found it helpful to write down anything from feelings(happy or frustrated) notes on what I need to improve on, progress, etc.

Advice From Mind/Body Experts

Practice Daily

Practice daily before the big day. Learn to talk to yourself whenever you get frustrated while dancing. Although it might feel silly initially, "self-talk" is a highly respected, often used sports psychology technique. When we get upset negative thoughts creep in: "Why can't I do this? I'm not good at this!" Snap into a more positive mindset by coaching yourself in gentle, soothing tone--even when you're in class. In the same way you would encourage a friend to slav upbeat, repeating these messages can shift your mood. For example, instead of telling yourself that you're struggling with fouettes,, congratulate yourself for tackling a step many never master. You'll be surprised how nicely your body responds to receiving encouragement.

Many athletes also use imagery and visualization to picture success. Creating an emotional bookmark of a peal, event takes the practice one step further "We all have had the 'zone' experience, where you feel there is no boundary between you and the universe," says Harlene Goldschmidt, Ph.D., psychologist and director of education and outreach for the New Jersey Dance Theatre Ensemble. "But it is important to realize that it is both an emotional and kinesthetic memory--an event." Whatever event you recall as your zone experience, file it now so you can tap into it during an audition. Your body and mind will remember what success felt like while you were in your zone, and you will "recognize, grasp onto, and gravitate towards similar experiences," she says. "And it has the energy to dilute negative feelings."

 Goldschmidt says that by using a "felt image" (instead of just a visual one), you engage a larger portion of your brain. By activating more brain tissue, learning and focus become easier. Recalling these emotions and images should be practiced before the audition so that there is a clear, complete file of the desired memory. This way, it will be accessible when you choose to use it, like notes earmarked in a binder. Once the day of the audition arrives,

Lauren Gordon, a career counselor at Career Transitions For Dancers, suggests beginning to evaluate your calm quotient early in the morning. "Take a mental inventory of your day," says Gordon. "Have you had enough sleep and food? Have you allocated enough travel time to your audition? Have you found at least 10 minutes of downtime in the morning to regroup and prepare for your day?" This type of checklist is essential to feeling confident for the day ahead.

 The Long Wait

Broadway dancer and master teacher Steven Sofia says that while the pre-audition scene can become a social hour, figure out what will work best for your individual concentration. "Sometimes the hubbub can be helpful because it breaks nervousness," says Sofia. Gordon agrees, noting that networking and gleaning audition tips can make good use of intense energy. But Sofia warns that socializing "doesn't help you focus on the job ahead."

 If chatting with your fellow dancers is too distracting, use the waiting time to turn inward and create a spiraling, warm energy. A special playlist on your iPod can be helpful. Make sure you consider what type of audition you are attending. If it is an explosive show, hyped-up hip hop music might get you in the right spot. But if you are preparing to showcase your melancholy drama, opt for quieter songs.

 Time to Shine

 Once you enter the actual audition you should be in high spirits with a laser mind. Now is the moment to concentrate on your breath, the universally touted relaxation tool. "Breathing has to do with emotions. And since dancing is a physical expression of emotion, it is essential that the breath remain relaxed, balanced, and present," says Sofia. "If your breath becomes tense it is apparent in the movement immediately." 

Goldschmidt suggests using diaphragmatic breathing for dancers and athletes. Her specific approach (BRAVE) includes breathing, relaxing, aligning, visualizing, and energizing. By inhaling and exhaling from low in the stomach, you create a gentle, rhythmic massage that both calms and energizes. The moment tension rises or a frown forms, inhale for four counts, hold for a moment, and then exhale for eight counts. The beauty of the technique is that as you pay attention to your breathing, you can also continue your work in the audition. You will release tension, and you may find you are dancing better and with less confusion. When you move to the side while another group takes the floor, concentrate on the sound and sensation of your breath to take your mind away from negative roadblocks and regain your footing.

 The Calm After the Storm

 Once you have auditioned, try to remember that the result is now out of your control. It might be beneficial to review your performance with a friend or invested teacher, noting items you want to improve and congratulating yourself for tasks well-done. But at this point, the decision of the artistic team is separate. It usually consists of several factors that don't necessarily relate to you personally.

Setting goals for each audition will keep you from getting overwhelmed; your energy will be centered around objectives instead of dwelling on the outcome. "If you audition for something that is a long shot, be realistic," says Gordon. "Maybe you can improve a couple of technical points and enjoy the challenge." As counterintuitive as it may seem to dancers who strive for perfection, instead of cycling through the "what-ifs" of an audition, return to your breathing practice, class, and researching the next audition.

 Remember that your only job is to do your best.  Then, as hard as it may be, let it go completely. With this, you will be doing your best for your art and for your mind.

Recovery From Injury – Nutritional Advice for Dancers

By Emma Barrington

It is no secret that life as a dancer entails a high risk of injury, and that through the pursuit of technical and artistic excellence, one becomes blindingly aware of any existing physical vulnerabilities, recurring difficulties and personal challenges. It is essential to learn how to work with such limitations and to listen attentively to the messages your body is trying to convey.

Diet is a Common Cause of Injury

Although not widely recognised, diet is a principle cause of injury. Poor eating and drinking habits can lead to fatigue, impaired immunity and a compromised capacity for cognitive functions such as focus and concentration, all of which can impinge on technique and increase the risk of having an accident. Additionally, an inadequate or unbalanced diet increases the risk of osteoporosis and stress fractures, and speeds up the wear and tear of the joints. The body is simply unable to thrive without the correct nutrition.

According to Dance UK’s most recent surveys, carried out as part of their Healthier Dancer initiative, 80% of dancers reported incurring injury in the last 12 months. Over two-thirds sought physical therapy, but only a tiny minority supported their treatment with nutritional intervention. However, even if a trip to a qualified nutritional therapist is not possible, there are plenty of recovery-enhancing dietary strategies that a dancer can put into practice themselves.

Get Enough Protein for a Speedy Recovery

Protein provides the building blocks for all the cells in the body, including those in the muscles, ligaments, tendons, cartilage, skin and joints. It is the second most abundant substance in the body after water.

During periods of recovery from injury adequate protein is essential for the formation of new tissue. Animal products such as meat, poultry, fish and eggs are known as high quality proteins, because they provide the complete spectrum of essential amino acids, but other excellent sources include beans, pulses, nuts, seeds, quinoa, tofu and soya products.

To Meet Daily Protein Requirements:

For two of the day’s main meals make sure that one-third of your plate is covered with a protein-rich food (as listed above)
include two to three portions of dairy foods (or protein-rich non-dairy alternatives such as soya milk) per day
Remember to remove the visible fat from meat, choose lean cuts over minced meat and opt for low-fat dairy products to limit your intake of saturated fat, which is detrimental to heart health and may increase inflammation in the body.

Minerals Essential for Growth and Repair

Iron and zinc are two of the most common nutrient deficiencies and both of these minerals are vital for rapid healing. Because taking supplements of either of these on their own (i.e. not as part of a good quality multivitamin and mineral supplement) can have deleterious effects, for example iron supplements can cause constipation and excess zinc can lead to nausea and impaired immunity, it is essential to get enough of them in the diet.

Dietary Sources of Iron and Zinc

Sources of iron include red meat, liver, fortified breakfast cereals, wholegrain cereals, pulses and green leafy vegetables. Iron from plant sources is less well absorbed, but its uptake is enhanced in the presence of vitamin C. Zinc can be found in meat, eggs, wholegrain cereals, milk and dairy products.

Try some of the following light meal ideas to boost your intake of these minerals:

Egg and wilted spinach on wholegrain toast
Oatcakes and hummus with raw sugar snap peas
Wholegrain pasta, pesto and chicken
Jacket potato with cottage cheese and sweetcorn
Stir-fried beef, mixed peppers and noodles (flavour with 1 tbsp soy sauce)
Prawns, crème fraiche and watercress on toasted wholemeal muffins with a squeeze of lemon
Vitamin C Helps to Repair Tissue
Often looked towards for immune support, vitamin C is also essential for the healthy formation of collagen and therefore the speedy repair of all soft tissues.

To make sure you are getting enough vitamin C eat at least five portions of a variety of fruit and vegetables each day. A medium glass of orange juice provides well over 100% of the recommended daily amount, so make this part of a healthy breakfast to give yourself a head start.

Due to its antioxidant properties vitamin C can also help to reduce post-exercise muscle soreness. Consider incorporating a handful of cherry tomatoes, some dried berries or some tinned citrus segments into your post-rehearsal snack.

Maintaining a Healthy Weight

One of the most common concerns during times of Injury is the difficulty avoiding unwanted weight gain when physical training is limited. During periods of reduced activity it is necessary to make adjustments to dietary intake to maintain a healthy weight, but even after adjusting the diet, some changes in shape and body composition should be expected, depending on capabilities for ongoing exercise.

Dietary adjustments should be small and not leave you feeling unsatisfied, deprived or punished. Slight modifications such as reducing daytime snacking or having smaller starchy carbohydrate portions at mealtimes may be all that is needed to prevent unwanted weight gain during the recovery period, and drink plenty of water to flush out accumulated toxins and maintain a healthy metabolism.

An awareness of which foods are considered to be low, medium and high-density is also useful when thinking about weight management. Anita Bean, leading sports nutritionist in the UK, covers information on this in her practical guide “Food for Fitness” (see references).

References
• Bean A, The Complete Guide to Sports Nutrition, (6th edition), A & C Publishers Ltd., 2009.

• Bean A, Foods for Fitness, (3rd edition), A & C Black Publishers Ltd., 2007.

• Garrow JS, James WPT and Ralph A, Human Nutrition and Dietetics, (10th edition), Churchill Livingstone, 2000.

• Law H, Fit to Dance 2: Report of the second national inquiry into dancers’ health and injury in the UK, Dance UK, 2005.

• Mastin Z, Nutrition for the Dancer, Dance Books, 2009.

• Solomon R, Solomon J & Minton SC (editors), Preventing Dance Injuries (2nd edition), Human Kinetics, 2005.



Emma Barrington completed her degree in Human Nutrition and Dietetics in 2004 and went on to work as a Senior Dietitian in the NHS for 3 years. She has covered many specialist areas including cardiology, stroke management, endocrinology, oncology, surgery, orthopaedics, mental health and women's health.

Currently, she is working with Neal's Yard Remedies, developing her knowledge of natural health and complementary therapy options and also undertaking studies in stress management and dance. She is a student at Laban, the UK's first music and dance conservatoire (having merged with Trinity College of Music in 2005) and the largest contemporary dance institution in Europe.

Emma has a lifelong passion for music and dance and  a great believer in how the Arts can truly enhance physical, emotional and mental well-being and enrich life. Her ultimate goal is to promote good, holistic health for all.

The Universal Language of Dance - Legacy of West Side Story

From its opening moments,West Side Story demonstrated that it was not going to be just another lighthearted Broadway musical. It wasn't just the subject matter that made it different from other musicals of the day. It seamlessly integrated story, song and dance into a work that looked, sounded and moved like no other musical before it.

"The scenery moved before your eyes, from set to set to set, so there was a kind of continuous movement — cinematic," says Harold Prince, the show's original producer. And, Prince adds, West Side Story needed a new type of performer that would come to be known in Broadway parlance as the triple-threat: "It was the first time in the history of the theater that the entire cast sang, danced and acted."

Based on Romeo and Juliet, the show updated Shakespeare's tragedy of star-crossed lovers and set it on the mean streets of Manhattan. The creators were a dream team of top theater artists: director and choreographer Jerome Robbins, playwright Arthur Laurents, lyricist Stephen Sondheim and composer Leonard Bernstein.

The curtain rises on a bleak scene representing a warehouse. For the next five minutes not a word is spoken. Instead we get an extended dance sequence by the two gangs, the mood is sinister. This establishes not only the emotional climate for the play that follows but also provides a warning of some of the impending action.

One of these gangs is the Jets, who are determined to prevent the invasion into their territory by any Puerto Rican. The rival gana, the Sharks, is made up entirely of Puerto Ricans. Both gangs arrange a meeting at a dance held in the neighborhood gymnasium for the purpose of arranging the time, place and weapons for a major gang fight, or "rumble."

A climactic point is here reached with an exciting mambo dance. At this dance Maria, sister of Bernardo, leader of the Sharks, meets and falls in love with Tony, a member of the rival Jets. Belonging as they do to enemy camps, Tony and Maria must henceforth carry on their love idyll in great secrecy. In the song and dance sequence, "Somewhere", they escape from the squalor and grimness of reality into a fanciful dream world.

In "Maria", Tony gives voice to his feelings about the girl he has come to love, and in "I Feel Pretty" Maria describes her own reactions to the miracle of love. Their love blossoms out in a poignant scene on the tenement fire-escape and in the best ballad of the score, "Tonight". They eventually go through a mock marriage -- which they themselves take more seriously -- in a bridal shop where Maria is employed and where the dress dummies serve as their guests. This episode finds interpretation in dance in "One Hand, One Heart". But the hatred that separates the Jets and the Sharks also spells doom for their ill-fated romance

Then the "Rumble" erupts -- a dramatic incident that once again finds its equivalent in dance movements -- Tony kills Maria's brother. She is ready to forgive Tony, even to elope with him. But before this can happen, Tony is killed by an avenging Shark.

In West Side Story, dance has been elevated to new importance by being required to carry on much of the dramatic action in a way that had never before attempted on Broadway. As John Martin, the dance editor of the New York Times, pointed out, the drama ofWest Side Storylies not so much in "talked plot but in moving bodies. The muscles of trained dancers are tensed and untensed and tensed again, stimulated by emotional tensions stimulating them still further in return. These tensions are transferred automatically across the footlights and into the musculature of every spectator in the house, willy nilly. The cast acts and reacts in terms of movement, and that is the most direct medium that exists for the conveying of inner shades of meaning."

If Bernstein's score has decidedly popular overtones in songs like "Tonight" and "I Feel Pretty" it also boasts operatic dimensions in the grimly realistic overture and in the atmospheric backgrounds for the ballet sequences. Within the music -- as within the various ballet episodes -- are caught much of the ugliness, agony and neuroticism of slum life in New York; but also, some of the beauty and poetry which sometimes touches the lives of these tortured adolescents. Contrast can also be found in several satirical numbers in which a welcome tone of mockery is introduced: notably, in "America", an amusing interpretation of the United States from the point of view of a Puerto Rican, and "Gee, Officer Krupke", an ironic commentary on the attempt by psychologists and social workers to cope with juvinile delinquency.

An artistic triumph of the first magnitude, West Side Story also prospered at the box-office. A three-year run on Broadway was followed by an extended national tour and a return engagement on Broadway; the total number of performances in New York was only twenty-seven short of the magic "one thousand mark". On December 12, 1958, West Side Story received unqualified acclaim in London at its première there. In 1961 a tour of Israel, Africa and the Near East brought new accolades to this production. In the same year a momentous motion picture adapted from the stage play was successfully released in the United States.

Frank Rich, former chief theater critic at the  New York Times.  favorite moment is the "Tonight" quintet: The gangs are getting ready for a rumble, while the lovers are planning a rendezvous. And there's a "magical element" to the locations Robbins used for filming, Rich says."It was shot on the West Side of New York, in the area that's now Lincoln Center, when all those buildings were condemned for Lincoln Center, but had not been torn down yet," Rich says. "So it does have a kind of grit it would not have had, if it had been done on a sound stage in Hollywood."

Since West Side Story opened, its songs have become ubiquitous. They've been recorded by everybody from Johnny Mathis to Barbra Streisand to Oscar Peterson to Little Richard. Kiri Te Kanawa and Jose Carreras recorded an operatic version. Conducted by Leonard Bernstein himself, it topped the crossover charts.

Now, not a day goes by when West Side Story isn't performed somewhere in the world. "We tried to do a rough calculation, based on the 50 years that we've represented the show," says Freddie Gershon, owner of Music Theater International, the company that licenses West Side Story to amateur and professional groups. "We calculate that there have been approximately 40,000 separate productions."

Crossing Boundaries, Territorial and Otherwise

Gershon says over half of the 600 yearly productions are done overseas. "No matter what country you're in, no matter what language you do it in, it always works," Gershon says. He sees a lot of those 600 productions, too — and he says some of the high-school versions are better in many ways than some professioal stagings.

Not long ago, West Side Story was staged at SAR High School in the Bronx. It's a yeshiva — a Jewish day school for modern Orthodox students. Both the Sharks and the Jets wore yarmulkes. Teacher Kenny Birnbaum was the music director for the production, and he says that because of certain Jewish laws, staging the show proved a challenge. "We had choreography where the students were close and dancing in pairs," Birnbaum says, "but never touching each other." Still, the show still packed a wallop, both for the students and for the sold-out audiences.

"They also have to deal with the real issues that the play raises: How do we treat other people of different religions and ethnic groups and races?" Birnbaum says. "And sometimes when you're in an insular community, like the Jewish community can sometimes be, it really challenges us and really pushes us to think outside the box. And that's part of why this play is so important."

Several miles north of the Bronx is the Sing Sing Correctional Facility, a maximum security prison. For the past 11 years, a nonprofit organization called Rehabilitation Through the Arts has worked with the inmates to stage plays. Their first musical? West Side Story.

Clarence "Divine Eye" Maclin has served 12 years of a 20-year sentence for armed robbery. He was a gang member on the outside. "This particular play really brought the guys together, because of the issue — because of the gang issue," says Maclin. "The original play was Latinos against white guys. Here, we don't really have a large population of white people in our production company, but it was more Latinos [against] blacks. And these are issues that we really deal with, in the yard here, in the mess hall here, all throughout the jail system, we really deal with these issues: Latinos and blacks, now how to co-exist?"

Maclin finds the finale of West Side Story especially moving. He says it's eye-opening when the Jets and Sharks come together to pick up Tony's dead body. "And at that moment right there, when you recognize and realize, listen — we're all in the same bowl, we're all in the same soup together, man. And all we're really doing is killing one another."

So audiences and casts at a maximum security prison, or a yeshiva in the Bronx, or a theater in Korea all can relate to West Side Story. Through its dances within songs, its movements, it hints at the hope to someday replace the stifling urban world with “Peace and quiet and open air,” and builds to a statement how exhilarating and uniting love can be. “Hold my hand and we’re halfway there.” - Somewhere...

The Iconic Film Opening, With the Rival Gangs Using Dance to Express Their Feelings

Behind the Scenes: The Various Parts of a Performance Theater

Have you ever sat in the audience and wondered how the production in front of you takes place? A lot happens in front of your eyes, but there is also a lot happening behind the scenes.

No two theaters are exactly alike, but all have wings, dressing rooms and seating for the audience. Here’s an overview of the standard parts of a theater and the terminology used to direct most dance performances.

The Stage

The size, style, and shape of a stage can vary drastically from theater to theater. But all stages have wings, a floor for performances and a stage apron, as well as additional features like catwalks and orchestra pits for the more technical aspects of a ballet.

Stage Directions

Stage directions are listed according to the dancer’s view of the stage; it’s his or her left (based on facing the audience) as opposed to that of the audience’s. There are five basic stage directions.

Stage Left - Dancer’s Left.
Stage Right - Dancer's Right.
Center stage - Center of the Stage.

The next two directions refer to how far forward a dancer is on the stage:

Up Stage: A dancer standing far at the back of the stage, against the backdrop, is very far up stage.

Down stage: A dancer standing at the edge of the stage, right near the audience, is very far down stage.

The Wings

The stage is flanked on both sides by what are called “wings.” Wings are curtained-off exits from the stage that allow a performer to go off stage and rest without being seen by the audience. The wings are usually made from a five or six-foot wide black curtain that stretches to the ceiling of the theater.

Most stages have three equally divided wings per side, though some have more. The wings are normally named for their stage direction. For example, a wing on the dancer’s left, close to the backdrop, would be the upstage left wing; a middle wing to the dancer’s right is the center right wing.

Flooring

The flooring of a stage varies wildly depending on the facility and whether or not it is used solely for dance performances.

Standard performing arts facilities have wooden or concrete flooring, which can be used for both plays and music recitals. Dancers can opt to use this floor, but may need to take additional precautions, such as rosin tips or overlays, to counter the slippery surface.

Rosin and suede tips on pointe shoes can help prevent slipping, though the wood floor will always make dancers more prone to falls. Because of this concern, many directors choose to use an overlay, thin flooring mats that can be rolled out like carpet over a wooden or concrete stage. They have rubber backing to prevent slipping and are usually sealed to the base flooring with heavy duty duct tape to ensure the safety of the dancers. Sometimes theaters provide the rolls of overlay flooring, but it is more often stored and supplied by the performing artists.

Marley flooring is made from layers of foam and coated rubber, designed to provide cushioning for a dancer while at the same time maintaining a slip-free surface. Marley was originally used on the decks of Navy ships due to its waterproof surface and long term durability.

Raked stages, while not common in the United States, can be found in many of the oldest and most celebrated theaters in Europe. Raked stages were originally designed to give the audience a better perspective by slanting the entire stage slightly downward toward the viewers. Unfortunately, this improvement for the audience, often results in a slight loss of balance for dancers, particularly for turns.

The Apron

A standard stage can be rectangular or round, thrust into the audience or small and withdrawn. However, as long as a stage has a curtain, it will also have an apron. The apron of a stage is the small part that is left uncovered after the curtain comes down, which allows performers to stand in front of the curtains for bows and the aptly named “curtain call”.

The Prompt Box

The prompt box is usually tucked into the left corner of downstage. This little alcove is where the stage manager sits, curtained off from audience view, making it easy to access backstage and see all activity onstage. It is here where the manager uses a headset intercom to communicate with all crew members.

The Orchestra Pit

In most theaters, there is a recessed, half circle area between the stage and the front row of the audience called the orchestra pit. The orchestra pit is designed to fit all members of the orchestra accompanying the performance. Its recessed dimensions serve two functions: First, to allow the conductor to see the performers and adjust tempi accordingly; secondly, to disguise the orchestra members themselves. With the instruments, conductor, and musicians all moving around constantly, the orchestra pit allows the performance to go on without distraction for either dancer or audience member.

The Catwalk

High above the stage is a platform made of wooden planks from which a range of technical aspects can be controlled. This platform, due to its narrow size, is called the catwalk. Dancers rarely — if ever — go on the catwalk, as there is no need.

From the catwalk, crew members and stage hands can drop effects such as fake snow or rain, glitter or banners, or other mobile backdrop features. Any problems in the rigging of a backdrop can also be adjusted from the catwalk — although this is usually avoided, as the backdrops are rigged with controls set in the wings.

Dressing Rooms

The dressing room is where a dancer dons their costume, makeup, hair pieces, and gets ready for a show. There can be anywhere from one to twenty dressing rooms, depending on the size of a theater. In larger venues, lead dancers are usually awarded their own private dressing room, while smaller ones force dancers into more cluttered spaces.

The Green Room

Though there is debate over the origin of its name, the green room’s purpose has always been the same: To serve as a place where performers can relax and eat while taking breaks during a show or rehearsal.

While some green rooms are indeed painted green, most are simply plain rooms with couches, refrigerators, and tables where performers can chat and relax. But green rooms are also regarded with some level of supernatural superstition, thanks to their somewhat contradictory history of serving not only as areas of recuperation, but also of conflict. The most famous example occurred in 1735 when actor Charles Macklin fought with another actor over a wig in the green room, murdering him on the spot. Thus, the superstition.

Cyclorama

The cyclorama is a curved sheet of thick material or plastic that covers the entire back of the stage and serves as the intermediary between backstage and on-stage. It can be projected upon, decorated, lit, or simply left as is to create the backdrop of a production.

The cyclorama is usually laid flat, but can, in specific pieces, be curved or draped differently to represent a variety of backdrops and atmospheric tones.

The House
The house refers specifically to the area in which the audience sits. This is also the origin of the term “full house,” used to describe a performance with high audience attendance.

Seating capacity varies between theaters: some seat as few as 100 audience members; others can seat several thousand. However, regardless of their size, every theater maintains a standardized set of seating sections: orchestra, boxes, mezzanine, and balcony.

Orchestra

Orchestra seating is the closest section to the stage. It resides right behind the orchestra pit, sometimes coming as close as just a few feet to the apron of the stag and often in one cluster of six to ten rows of seats. The orchestra seats tend to be the best for those hard of hearing or who want to see the dancers at very close range.

Boxes

Boxed seats are available in less than half of theaters in the United States, but are more common in older European theaters. Boxes are private enclaves located on the sides and just in front of the stage, allowing viewers to watch the performance with privacy and the ability to speak quietly with their company. For this reason, boxed seats are usually the most expensive, although the view they provide is often skewed due to their attachment to either side of the theater.

Mezzanine

Mezzanine seating is located right behind the orchestra seats and is the most common, sought after seat in the ballet. The farther back you are seated in this section, the higher your view (due to the slight slope of the house floor).

Mezzanine seats can be in one section that spans the width of the theater or divided into several sections with aisles in-between each. The most common setup is a three-way division, with one section of mezzanine seats on the left side of the theater, one in the center, and one on the right.

Balcony

While only slightly more common than box seats, if available, balcony seats are among the most popular. The balcony seats are located above floor level and usually stretch from the back of the theater to the middle of the mezzanine, overshadowing many mezzanine seats.

Balcony seats are normally divided into as few sections as possible due to the smaller space. Ballet patrons sitting in the balcony frequently bring opera glasses with them to get a clearer view of the dancers, as many balconies are constructed a great distance away from the stage.

Due to the relatively small amount of seats available in the balcony section, tickets are often more expensive, though they may not necessarily offer the best view.