August Favorites

Here's what I've been enjoying in the month of August...

Motionwear Wide Strap Princess Camisole Leotard

My ballet school recently updated the uniforms required for each class, and the upper levels now wear this leotard in a variety of the dark colors.  Princess style leotards are very flattering to all body types because they come up high under the arm, but aren't constrictive in the neckline.  Motionwear leotards are made of a thicker and slightly less stretchy nylon fabric, so they wash and wear very well and last a long time without losing color or shape.  Bonus: Motionwear offers long torso versions of the leotard for special order.  (Available from motionwear.com.)

Capezio Callback Skirt

This skirt is part of Capezio's Bradon Collection (Project Runway meets super classy dancewear).  It's a pull on style that resembles a homemade SAB skirt, but it's a bit more refined.  It's snug fitting across the hips, but accented with side slits to provide ease of movement and elegant draping.  The back is also slightly longer than the front, which provides more coverage for curvy dancers.  I love the berry color (it's a bit darker than how it looks online--closer to burgandy) to accent a black or white leotard, but a variety of colors are available (and they match colors of the leos in the Bradon Collection, so you can mix and match if you want).  (Available from capezio.com.)

Forever 21 Cardigans

I love the basic cardigans from Forever 21.  They are a very simple, classic style that can easily work for every environment,  from a professional office to high school to the dance studio.  The cardigans are super light and thin, so they are great for providing some warmth in air conditioning without smothering wearers in outdoor heat.  These sweaters can be dressed up or down, and the deep V-neck (when it's buttoned up) makes it appropriate for wear over leotards.  Forever 21 always carries this style, but the colors vary from season to season.  Brights are fun for summer, and classic black is a sure hit with any outfit.  (Available from forever21.com.)

Dermalogica Daily Microfoliant

I love this product for super gentle daily exfoliation.  If you've heard of Tatcha's exfoliating rice powders, this Dermalogica product is a similar formula, but more cost efficient and (at least for me) more effective.  The powder comes in a fairly large container, and only about half a teaspoon is needed per use, so one jar lasts a long time.  I like putting a shake of powder into a small dish, adding a splash of water, and whipping it with a fan brush until it creates a foamy texture (a bit like whipped egg whites).  Then I use the brush to apply to my face, and I massage with my fingers for about a minute before rinsing off.  The rice-based exfoliant physically buffs away dead skin and absorbs excess oil so skin is ready to absorb serums and moisturizers.  (Available at Ulta stores.)

Burt's Bees Pink Grapefruit Lip Balm

Good lip balm is a must for me since I live in a dry climate.  It's always distracting and uncomfortable to exercise or attend dance class with chapped lips.  Burt's Bees products contain natural beeswax and essential oils to moisturize and protect your lips.  The clear color makes for a natural look on its own, or it can be layered over or under lipstick for added moisture and protection.  I love citrus scents, and this pink grapefruit flavor is so yummy for summer.  (Available at most drug and grocery stores.)

Nature Box

I recently started ordering snacks from Nature Box, which is a food subscription service.  You can get 3, 5, or 10 snacks at a time and specify whether you want them delivered weekly, biweekly, or monthly.  I like getting 5 snacks each month.  Each snack contains 2-4 servings, and all the choices are Whole-Foods quality (super healthy and delicious).  You can pick your snacks, or you can choose to be surprised.  I tend to have a hard time with grocery shopping because I only want to buy staples like bread and produce.  I never know what I will want to eat during the upcoming week, and I get discouraged that all the super yummy things are expensive.  With nature box, I pay a flat rate and get to choose whatever snacks I want.  This saves me money at the grocery store, and it keeps me from getting bored with my food choices (Plus, the snacks offered change each month for even more variety).  Nature Box has frequent specials for new subscribers, usually 50% off your first box or similar savings.  Plans range $13 to $40 (regular price) per shipment in the US.  (Visit naturebox.com for more info.)

Help! My daughter doesn't like her ballet dress code!

If your child is young, she probably loves dressing up in costumes and pretending to be a beautiful ballerina.  If she has seen ballet-related movies and videos (everything from Barbie cartoons to recordings of live performances), she has certainly seen female dancers in glittery dresses and sparkling tutus. Ballet's association with pretty outfits is a huge draw for children.  Sometimes girls ask for ballet lessons just because they like the idea of wearing a fancy tutu. 

This can sometimes become a problem when children find out that they will have to wear a simple, subdued uniform to class.  Pre-schoolers who want to wear beautiful dresses can become disappointed when they are forced into simple white leotards and pink tights.  If your daughter is having a difficult time with her school's dress code, here are some tips to help her understand the situation and make the best of it.

1.       Let her know that you understand her frustration.  Pretty outfits are awesome.  Boring outfits are disappointing.  However, her uniform doesn't have to be boring.  White leotards are the same color as Odette's tutu in Swan Lake.  Pink leotards resemble the Sugar Plum Fairy and Clara in The Nutcracker and Aroura in Sleeping Beauty.  Pale blue leotards are the same color as Cinderella's dress.  Try to associate her uniform with a fantasy character she likes.  Avoid telling her that she "may get to wear a pretty outfit at the recital later."  This may or may not be true, and it can leave her with anxiety and more frustration at having to wait.

2.       If the dress code allows, help your daughter fix her hair with some pretty accessories.  It is usually not required for bows and bun covers to match the uniform.  Sometimes a fancy Cinderella bow can make a child happy enough to let go of the fact that she does not get to wear a Cinderella tutu.

3.       If your daughter is mature enough to grasp some abstract concepts, try explaining the idea of the "imaginary tutu."  Professional dancers who are rehearsing for performances dance while pretending they are wearing their performance costumes.  This helps them use exact technique (sometimes arms must be placed differently to accommodate the space taken up by a tutu) and get in character.  Your daughter can pretend she is wearing a fancy tutu while in class.  This will only help her technique, emotion, and musicality.  You can encourage her to describe or draw a picture of her imaginary costume, which will only make the exercise more educational.

4.       Show her a picture of pre-professional students in class (or have her watch a portion of older students' class at her ballet school).   They often have to wear uniforms too.  Encourage your daughter to "be like the big girls" and follow the dress code.

5.       If she has ballet costumes at home, avoid taking them to the studio.  They can be tempting and distracting during class.  Even if she only wears it in the car on the way to and from class, other students may see the costume and the whole situation may become disruptive.  DO encourage your daughter to put on her fancy costumes at home and have her show you things she learned in class.  These little "performances" will help her learn to do the same movements in different outfits (something older students sometimes struggle with) and understand that these outfits are appropriate for different occasions.

Brand Spotlight: Yumiko

Yumiko Takeshima was a professional ballet dancer when she began sewing her own leotards.  Other dancers liked her designs, and the brand grew from there.  Yumiko dancewear is constantly adding new styles, colors, and fabrics to keep its reputation as the cream of the crop of ballet fashion.  The brand is fully customizable; dancers can choose a style of leo, top, skirt, or pant, then pick the fabrics and colors in which the item will be made.  Be aware that advertising or selling Yumiko dancewear over social media is prohibited.  If you are ordering through a “yumigirl” (sales rep), talk to her in person, on the phone, or over private e-mail.  Second-hand sales over e-bay are permitted.

pronunciation	Yoo-mee-ko
website	global.yumiko-online.com
styles of dance included	ballet, jazz, modern/contemporaty/lyrical
types of items	bodywear
country of origin	Brand owner is from Japan, items manufactured in Spain
price point	luxury
quality	Very good
availability	Poor in most of the US and abroad.  Few local dancewear stores and websites carry the brand.  Only readily available special order through official website, NYC, Tokyo, and Berlin boutiques, or through “Yumigirl” reps.  Sometimes available on E-bay for purchase secondhand.
sizing	Leotards run small.  Go one size up from what is listed on the size chart. (I am 5’4” 97 pounds long torso, and prefer a size medium)
Jillian’s top pick	“Wendy” cap sleeve style
Jillian’s item to avoid	none to speak of, but pay attention to how each style will look on your body type.

Boys and Ballet: tips for parents with young sons

Over the past several years, I've had many questions from parents of young boys.  "I want my son to dance," and "My son wants to dance," are common sentiments.  The problem comes in when parents and children begin to consider gender boundaries.  It's a common misconception that only girls do ballet, or that the only boys who do ballet are gay.  Here are some facts about gender and ballet with emphasis on children's primary programs.

1.       All ballet studios and schools have girls' and boys' (or gender-neutral) bathrooms and changing rooms.  This may be obvious basic information, but it's a common belief that dance studios only have accommodations for girls.

2.       Similarly, all ballet studios allow boys.  Some schools even give special discounts for male students.  At more advanced levels, boys may train separately from girls.  In most young children's classes, boys and girls take class together. (However, some more popular elite schools like SAB in New York City start out with boys and girls in separate primary divisions.) 

3.       There will almost always be more girls than boys in class.  I wish things were more equal, but that's just the way most kids' classes are right now.  If a boy is comfortable being with female friends, he will be just fine in ballet class.  If a boy generally only plays with other boys, this is a great opportunity for him to learn that girls can have common interests and be fun to play with too.

4.       Some of ballet is male and female-specific.  Only men do some movements (certain jumps, turns, etc., which are usually very athletic, sharp, and masculine), and only women do others.  However, the majority of ballet basics are not gender specific.  Most of what kids learn in beginning classes is the basis of all of balletic movements.  When boys and girls are between ages 8 and 12, they will usually begin taking at least some classes separately. 

5.       Male ballet students will never be expected or forced to do "female" things/movements (such as female fouettes, pointework, and wearing tutus).  However, if a male student is curious or wants to try these things, he will usually be allowed.  Very masculine boys who do not want to do feminine things are well accommodated.  Children with a more fluid understanding of gender boundaries are also well accommodated.

6.       Ballet has nothing to do with homosexuality.  Doing ballet does not make a boy gay.  Yes, some male dancers are gay, but there are also plenty of lesbian dancers and gay male engineers and chefs and actors…  As I stated earlier, most male-specific ballet movements are very sharp, athletic, and masculine.  They usually involve moving quickly, jumping very high, and traveling great distances in a few steps.  In classical story ballets, male characters are almost exclusively heterosexual, "manly" characters like kings, princes, soldiers, and pirates who usually pursue and protect pretty princesses.  When male dancers begin to perform soloist and principal roles, dancers with more masculine technique tend to excel, and dancers with more effeminate qualities sometimes have more trouble with the mannerisms of their characters.

7.       Male ballet students do have to wear opaque tights or form-fitting pants/shorts.  This is so teachers can easily see and correct a student's movements.  Female students wear leotards and sheer tights for the same reason.  There is nothing feminine about men's dance tights or men's dancewear in general.  Elite male gymnasts, cyclists, and swimmers often wear similar garments with no questions of masculinity.

8.       Boys who don't dance often don't understand how male dancers fit into the larger picture of ballet.  They should read this article and educate themselves before making any judgements.  When male ballet students reach middle school age (about 11 or 12), it's common for their classmates to begin to tease them.  This doesn't always happen, but if it does, it can be tough for the dancer.  The most important thing to remember is that the students doing the teasing are the ones who are wrong, not the dancer.  Dancing has nothing to do with sexual orientation or gender identity, and people who think it does are quite badly mistaken.

Did my teachers place me in the right level?

If your teachers are qualified, the answer to this question is almost certainly “yes.”  If you are repeating a level or have been moved to a lower level, it is because your skills and abilities would benefit most from a year of instruction at that level.  It is exceedingly rare for a teacher to make a mistake with such an important decision or take it as an opportunity to offend you on purpose.  In this post, I will give you some tips on how to cope with being placed in a lower level than you had hoped.

1.  It’s ok to be disappointed.  If you are really unhappy, try not to discuss level placement with too many other dancers.  Try not to cry or outwardly express strong emotions until you get home.  Take the rest of the day to get your feelings under control.

2.  Be honest with yourself.  If you struggled to pick up the dance at last season’s recital, it will be really helpful to your overall dance education to stay in the same level for another year.  Even if you are no longer in class with your friends, dance will be more fun if it is geared to your level and isn’t too challenging.  At most dance schools and studios, teachers and directors carefully consider your ability and technique to place you.  They select the level that is best for you based on numerous factors, which can include things like attendance and attitude in addition to ability.  It's very, very rare teachers to make the wrong choice.  

3.  It's ok if you don't understand exactly why you have been placed in a certain level.  It's also ok to ask your teacher or studio director for specifics on things to work on.  Find a quiet time to talk to your teachers privately.  You should start the conversation yourself, not your parent (it can be seen as pushy and inappropriate for a parent to campaign for a child’s promotion).  Make sure you are very polite as you tell your teacher how you feel.  Frame the conversation around self-development, not level.  Ask what you can do to improve in the future, or if there are specific skills that you can work on.  Do not bring up other dancers, and DO NOT use phrases like “I think I’m as good as (name) who got promoted.”

Most teachers will be ok with counseling you a little bit.  Expect to hear a couple of things that need work before you're ready for promotion.  Do not expect an in depth explanation of how the level system works at the studio, and don't expect an entire run-down of what you do well and what you struggle with.  Always thank your teacher for any information shared, and end the conversation shortly after that.  It can be seen as rude or pushy to ask too many questions related to your level.

4.  If you really feel like you were mis-leveled, attend the class you were assigned anyway.  It's rare for mis-leveling to happen, but it can be the case (especially if you are new to the studio and something exceptional happened the day of the placement audition, like you were sick or hurt).  If you go to your assigned class and it's clear that the level is way too easy for you, the teacher and studio director will probably speak to you about moving to a different class.  Remember that it can take a few days or classes for teachers to get to know you, so re-leveling may not happen right away.  Also, keep in mind that re-leveling is at the teachers' discretion, not yours or your parents'.

If you are not re-leveled, try to enjoy the class you are in.  It's always helpful to improve basics.  Can your turnout improve?  Flexibility increase?  Always!  It's always a great move to return to the basics for strong dance technique.  It can also be more enjoyable if you can confidently perform combinations without struggling to get the steps.

5.  If you were moved up to the next level but it feels too hard, talk to your teacher.  Ask, "Do you really feel like I'm ready for level 4?  I'm finding it very challenging."  Most teachers will say that they have confidence in you.  Ask if you can take the previous level's classes in addition to your new level's classes to help you keep up your technique.

Competition dance myth vs fact

1.  Everything is just like on Dance Moms.  

               Myth.  Everything does not go down just like it does on the show.  Most dancers, instructors, and parents are much, much calmer.  The girls featured on the show are also very, very talented, and most dancers under age 15 or so do not dance at such a high level.  Competition is usually less intense at lower levels.  Many dancers compete for fun or as a performance opportunity, not as a “reason for living.” 

                  Some parents, dancers, and coaches are very intense, but most of the time not as much as Abby Lee and company.  Rivalries (usually between studios in the same town) are also common, but usually do not lead to much animosity. 

2.  Sometimes costumes, props, music, and theming outshine technique or ability.  

               True.  The “whole package” of a mediocre routine will never beat out a simple but technically amazing dance, but if two numbers performed similarly well, judges may choose the one they “liked better” as the higher score.  You can’t control whether the judges love dogs or hate orchestral music, so occasionally a number will come out on top simply because the judges found it more enjoyable.

3.  Boys score better.  

               True.  Often numbers that include one or more male dancers have a better “whole package” than routines that feature only girls, and they will score better than all-girl routines that show similar technical ability.  The same often goes for racially diverse groups.  This way of thinking is no more or less fair than the way of thinking laid out in the previous item.

4.  Everyone wears very revealing costumes.  

                Myth.  Some dancers, even young children, do wear costumes featuring bra tops and short shorts.  However, not everyone takes that route.  Some dance schools do not allow students to wear immodest costumes, and individual dancers often choose their own more modest attire.

5.  Competitions are expensive.  

               Fact.  There are entry fees, choreography or additional lesson charges, the price of a costume, and travel expenses.   Some studios cover these costs or make them part of the cost of being on the competition team, and others let dancers pay their own ways.  Additionally, there are dancewear merchants at most competitions selling clothing and other products.  Some competitions give winners only titles or certificates, and the dancers, parents, and teachers have the option of purchasing a trophy or tiara.  Participating in a local competition can cost hundreds of dollars, and out-of-state competitions can cost thousands. 

6.  If I dance in a competition, I will dance on a stage.  

               Myth.  Some competitions are held in large venues like theaters and convention centers.  Some venues have stages, and some use portable stages.  Other competitions are held at schools (not dance schools, actual academic schools).  Some schools have a theater or performing arts center, and others do not.  Do not be surprised if you end up dancing on a basketball court.

7.  Competition dancers have big tricks and bad technique.  

               This one goes both ways.  Some competition dancers do have poor technique, and others dance beautifully.  It comes down more to the teacher’s focus, the student’s work ethic, and the style of dance at hand.

 If a teacher spends most of the coaching time working on something like a flexibility trick, acrobatic move, or big jump or turn sequence, it’s not the dancer’s fault that this element looks better than the rest of the routine.  What is practiced the most usually looks best on stage.  If a student is an exceptionally hard worker, he or she may seek out extra support or personally work on technique.  This should absolutely be applauded, but others should not be blamed for not doing so (especially if their teachers do not encourage this). 

When young students spend most of their time in combo classes and/or competition team practices, they often loose/do not develop understanding of the distinct styles of dance (ballet, modern, etc.).  An 8-year-old performing a “lyrical solo” may not be able to pinpoint any specific movements as belonging to ballet or jazz.  She may not know whether to turn in or turn out, and therefore do neither consistently.  Instructors also sometimes use terms like lyrical, modern, and contemporary interchangeably, which can be confusing to students and contribute to them not retaining style-specific technique.

Other students who train mostly in one style and compete in it often have a better basis of technical skill.  Also, teenaged dancers who have trained and competed in their “home style” for many years often display better technique.

One last note on this topic: some things that are considered poor technique in classical ballet are acceptable other styles and in competition routines.  Girls doing “male” fouettes, dancers performing turned-in pirouettes, and combining floorwork and pointe are all common and accepted in non-classical competitive venues.