Help! I have to dance in a mask!

Are you looking to be as a mouse in Nutcracker or working for another role that requires dancing with your face covered?  This can be extremely difficult, and dangerous if you're not careful.  I've experienced (shall I say survived?) dancing in a mask before, so here are some tips to make it go smoothly.

1.       Know what kind of mask you will be wearing, and be prepared for it.  Sometimes you might have a half-face mask or full-face mask that is either soft or molded and has eye and mouth holes.  This kind of mask obscures peripheral vision, but you should be able to see straight ahead of you.  You might wear a full face covering or "morph mask" that covers your face completely with thin fabric.  You should be able to see thorough the fabric, but it will make your vision dark and blurry.  Another relatively common mask is a character head.  You may look through openings in the character's eyes or mouth, or there may be a see-through mesh area over your eyes.  Large or heavy masks can also be difficult because they throw off your balance.  Knowing how the mask will affect you will make it much easier to deal with.

2.       Learn your choreography and be able to perform it perfectly by yourself (if you're dancing with a group).  Whether the mask covers just your periphery or blurs your entire visual field, you will probably not be able to clearly see the other people on stage.  You will need to take your cues from the music rather than checking in with other dancers.  If the stage is crowded with other dancers, you must be careful not to encroach on others' dancing space.  You should get a good idea of spacing during rehearsals, and it's imperative to commit it to memory so you don't accidentally take someone out during the performance.

3.       Practice with your mask on as much as possible.  You should learn your choreography maskless, but when you begin doing full runs of the show, you should be practicing with your mask so you get a good feel for it.  Once you begin practicing on stage, do one run-through with no mask so you can orient yourself.  Note where the stage lights are and what colors are in the backdrop so you will know what direction you are facing once your vision is obscured.  After that, definitely keep your mask on for the rest of the stage rehearsals so you can work out any kinks.

4.       The day of the show, make sure you are rested and nourished.  Sometimes wearing your mask and tunneling your vision when you are already nervous can make you feel dizzy or faint.  Be prepared that this could happen, and do your best to prevent it.

5.       Affix your mask to your face appropriately.  No doubt your director or costumer has already given you directions on how to wear your mask.  Does it tie in the back?  Slide over your head?  Use an elastic strap?  Make sure you follow these instructions.  Sometimes masks could use a little extra support.  If you're using a fabric or molded half-or full-face mask with eye and mouth holes, a little eyelash glue around the edges of the mask and at the outer corners of the eye holes can help hold it to your face without moving.  If you are wearing a character head, sometimes it will fit better if you wear your hair a certain way or wear a tight hat (like a beanie) underneath.  Try out a few variations during rehearsal and use the best method for the show.

6.       Be prepared for little malfunctions.  Masks can slip, especially if you're sweaty.  If a mask completely obscures your vision (most common in half-masks sliding down the face or character heads slipping), it is completely acceptable to adjust it for your safety and for the safety of others.  However, you will want to keep your adjustments as in character as possible.  If you are a mouse, can you pretend to be grooming yourself as you push your character head up?  Can your doll character bring her hands to her forehead or cheek as though embarrassed?  Try out some of these scenarios in rehearsal if you can, that way you will be prepared for anything that can happen during the show.

Tiny tips: Washing wrap skirts

You don't need to wash wrap skirts often, but it's a good idea clean them at least once every few months (especially the one that's been hanging around the bottom of your dance bag).  To quickly and easily wash your skirts, put them in a lingerie bag and toss them in the washer with the rest of your regular dancewear laundry for a gentle cycle.  The bag will keep the ties on the skirts from getting caught in the washing machine.  When the cycle finishes, lay the skirts flat or lay them over a drying rack to air dry.

Can I miss class for this?

When dance students are in serious training programs, they often have class most days of the week after school and on Saturdays.  This is imperative for them to achieve and maintain high-level dance technique.  However, it can be tough on kids and teens to have so little free time.  It's hard to be excited about ballet class when all your friends are going to a birthday party.  While taking some time for social activities is important to health, sometimes it's unacceptable miss a dance obligation for a social one.  In this post, I'll walk through some common social situations dancers face and note whether or not they should take precedence over class or rehearsal.

1.      I've been invited to a party.  In general, it is not acceptable to miss class for a party.  The only real exceptions are big-time family obligations, like your grandma's 90th birthday or your brother's Bar Mitzvah celebration.  Your casual friends' parties are not a priority if you are training to be a professional.  If you were to miss class for a party, it would be like telling your dance teacher that goofing off is more important than working toward your dream (harsh, but true).  If you're really close with the party-thrower, offer to get them a gift or hang out at a time when you're free to make up for the missed get-together.  And remember, any party with drugs or alcohol is not one where an aspiring pro-athlete needs to be.

2.      I have a religious, family, or school function to attend.  It is ok to miss one class or rehearsal (or a couple if the function is out of town) for an event like a confirmation ceremony, wedding, funeral, or graduation.  Be sure to let your teacher or artistic director know you will be gone for the event before you miss the class or rehearsal, and do not miss any more than you are scheduled to.  Call the studio if there are any extenuating circumstances like a cancelled flight.  When you get back, check in with a fellow dancer to catch up on choreography before your next scheduled rehearsal.  This is imperative to show you have the work ethic and motivation to keep missed classes/rehearsal from holding you back.

3.      There's a family emergency.  It's absolutely ok to miss class if it's something you are directly involved in (like you need to take someone to the ER).  While it's probably not on your radar, call the studio when you get the chance to let the director know what's happened.  If the emergency is not something that concerns you (like one of your parents had to take someone to the ER), try to come to class or rehearsal anyway.  It's understandable if you are emotional or distracted in this situation.  Let the teacher know what happened, and try your best to stay on track.

4.      I'm sick or hurt.  See my full article on attending class sick or hurt here.  In this situation, you should attend class if you can without further hurting yourself or spreading a contagious illness.  It's ok to sit and observe class or rehearsal if you can't participate, just let the teacher know what's going on and follow his or her recommendations.  If you need to stay home (a good idea if your contagious, have an upset stomach, or can't walk on your own), give the studio a call to let them know you'll be absent.

5.      I have a doctor's appointment.  Try your best not to schedule appointments during class or rehearsal time, but if that's the only time available, go ahead and miss that one class or rehearsal if the appointment is imperative to fix something that's really bothering you.  Your concentration and technique will improve after an appointment to fix your misaligned hip or painful toothache.  If the appointment is just for a basic checkup or a teeth cleaning, it's better to reschedule for a time when it doesn't interfere with class or rehearsal.

Back-to-dance Shopping Checklist

Back-to-dance shopping, whether it's done online or in store, can be overwhelming.  Stores are crowded, everything is on sale, and there are so many different options for each product.  To help sort through the madness, here's a list of questions to consider before adding an item to your cart.

1.       Do I need it?

Sometimes the thrill of a good sale can get in the way of logic.  Sure, another leotard for under $20 is great.  But do you already have a closet full of leotards?  Do you really need another one?  New jazz shoes make for a spiffy start to the season, but are last years' still a good fit and not too beat up?  It's ok to admit that you want something, but don't need it.  Pass on the things you don't need so you have more cash to spend on the things you do.

2.      Is it allowed?

Accessories are awesome!  Skirts and bun covers make dance outfits extra cute.  But are these items allowed at your dance school?  An over-helpful sales clerk can push you toward adding these things to your basket, but if you or your child won't be able to use them, you definitely don't need to buy them.

3.      Does it work for my needs?

Everyone has a unique body and individual approach to dance.  You might have wide feet or a curvy tummy or extra long legs.  Some dancers need super soft pointe shoes while others need super hard.  Just because an item looks good on or works well for someone else does not mean it will work for you.  Try on all the clothing and shoes you can, see if they work for you, and purchase only the best fits.  It's ok to come away empty handed or with products on order if the store doesn't have the perfect item in stock.

4.      Is it good quality and good value?

Look at the quality of the product and compare it with the price.  Nice leather shoes from an established dance brand are often a better choice than cheaper "pleather" ones because they last longer before wearing down.  If you have time, it's not a bad idea to shop around and ensure you are getting the best price for the product.  There is nothing wrong with leaving a store to purchase the same product elsewhere (just be kind about it).

5.      Do I love it?

No matter the item, you should love it enough to use it or wear it.  For some things, like class uniforms, you may not get a choice in cut or color.  However, you have the final say on your size.  Make sure you love everything you purchase for the upcoming season so you can start class with confidence in the look, fit, and feel of your dancewear.

Healthy Slushie Recipe for 7-11 day

It's July 11th, also known as 7-11 day in the U.S.  (If you're not from here, 7-11 is a chain of gas stations famous for selling junk food and slushies.)  If you're experiencing a hot summer, a slushie is a great refreshing treat.  However, the ones at 7-11 are packed with sugar, food coloring, and who-knows-what chemical preservatives.  Here's a simple recipe for a healthy slushie you can make at home:

1 to 1 ½ cups frozen fruit, slightly thawed (I like raspberries the best)

2 cups seltzer water

Add ingredients to a high-speed blender and blend until the fruit is fairly liquefied.  It's as easy as that to make a tasty, carbonated, refined sugar-free frozen drink to quench your thirst.

Good Hair Post-Bun

        If you have an obligation after a ballet class or performance, and you want to wear your hair down, it can be hard to get long lovely locks after having them twisted in a bun.  If you don't have the chance to go home and freshen up before heading back out, here are some tips to have good hair post-bun.  I regularly use them for post-opening night parties.  (Note: unfortunately these tips will not work for very curly or tightly coiled hair).

        1. Spritz dry hair with a little water in a spray bottle before bunning.  This will help achieve a smooth look with less hairspray.

        2. Use a ribbon-type hair tie to form the base of your ponytail.  It will still make a slight bump in your hair, but it won't be nearly as noticeable as the bump that comes from a rounded hair elastic.  Making a low bun (if you can) will also reduce the prominence of the bump.

        3. Wrap your bun loosely if you can.  This will help reduce the overall curliness of your hair when you take it down.

        4. Use a hair net and bobby pins to take care of flyaways on the bun.  This will enable you to use less hairspray.

        5. Use clips or bobby pins for flyaways around your head (if you can).  This is more appropriate for class than the stage.  This way, you won't have to use hairspray at all.  If you can't use clips or pins, use only the lightest spritz of hairspray and smooth hair down with your fingers.

        6. When you take your hair down, use a plastic or metal bristled brush to brush through it.  This will break up hairspray and reduce bun-curls, but won't flatten your hair to your head or poof it out.  Don't over-brush.

        7. If your hair feels too flat at the top and more voluminous on the bottom, try adding a thin headband to balance the look.

Can I wear underwear under a leotard?

I get this question a lot from new dancers and parents of little ones just starting ballet.  Some people believe it's immodest to go commando under dancewear, and others think pants are necessary for proper hygiene.  The plain and simple answer to this question is no, it's not appropriate to wear underwear beneath a leo and tights.  In this post, I'll unpack why.

Note: In this post, I'm discussing mostly young girls and children's dancewear and classes.  For more on dancewear and underwear for women, see my post on dancewear for periods here and my post on leotards and bras here.

Underwear shouldn't be worn under leotards and tights for a few different reasons.  The first is that it's simply not needed.  Both leotards and dance tights have breathable hygienic linings and gussets.  In leotards, you may notice the crotch area has an extra piece of white, tan, or black fabric sewn in.  In tights, you will see an oval-shaped piece at the crotch that has a slightly different texture than the rest of the fabric.  If a leo or pair of tights do not have a hygienic lining or gusset, it's not a real piece of dancewear and is not appropriate for class.

Second, wearing underwear beneath leotards and especially beneath tights is uncomfortable.  Kids often wear pants that are slightly baggy, and they get creased and can feel lumpy when sung dance tights are pulled on over top.  When I teach children's ballet, I notice girls who wear underwear are more likely to get distracted by adjusting their clothing than girls who wear just tights and leos.

Third, it's not a good look to have underwear poking out under (or neon colors visible through) a leotard.  When dancers are in higher level classes, they must obey strict dress codes where it is prohibited to wear underwear beneath dancewear.  It's best for young students to get used to this early on.  Additionally, visible underwear draws the eye to a student's waist and hip area.  It's actually much more modest for girls to wear just their dancewear so the teachers, students, and others can focus on dancers' smiling faces.

Budget-friendly summer intensive wardrobe

Whether you're going away for a summer intensive or staying at your local dance school, you will need to think about your dance wardrobe.  Most programs require a specific color of leotard (usually black) and tights (usually pink), and different schools often have varying rules about skirts and warm ups.

When purchasing or packing for your intensive, think about the length of time you will be at your program and what will wear out in that amount of time.  Usually shoes take the most wear and tear.  You can easily go through two or three pairs of flats and five or more pairs of pointes for a month-long program.  A pair or two of tights might get torn, but you probably won't destroy too many pairs.  It's unlikely a leotard will bite the dust in a month's time, and chances are even slimmer you'll wear out your skirt, sweater, or legwarmers.

If you're on a budget or just looking to save, make purchasing shoes a priority.  If you don't have enough pointe shoes, you can't participate in your classes.  Always have at least one more pair than you think you need, just in case.  Consider tights next, and have one new back-up pair in your luggage.  The rest can be pairs you've already worn as long as they do not have holes in them.  Remember you can (and should) wash your tights during the length of the program, so you do not need a new pair for every day.  For a month-long intensive, about 5 or 6 pairs should do you just fine if you do washing once a week.  The same goes for leotards.  You will probably want variety in your wardrobe, but 5 or 6 leos are enough.  If you have funds to buy more, it doesn't hurt to have more choices.  

However, if you must choose between buying more shoes or buying a leo, always go with the shoes.  For skirts and warm ups, one or two of each is plenty, especially if you can't wear them during class.  I wouldn't purchase any new skirts or warm-ups for the intensive (unless it's something special, like a birthday or "congrats" gift).

So overall, make an effort to purchase more of the things you wear out most (shoes), and scale back on longer-lasting items like leotards.  This will ensure you are well-prepared for your program without overspending.

Behind the scenes: Costumes

Ballet costumes look beautiful from the audience.  They make the dancers look like their characters, and each costume is specially fit to the dancer who will be wearing it.  If you're not a dancer, or if you're dancing in the Nutcracker for the first time this year, you may not be familiar with the fun and tedious process that is costuming.

Except for occasional new works and re-workings, ballet companies have a stock of costumes.  If you are dancing in the Nutcracker, the company most likely has a costume for each part already made.  Because of this, costumes actually drive much of casting for child dancers.  Costume pieces are made in set sizes that can be adjusted only a little (adding or taking out tucks in the fabric), so party children and polichinelles are chosen by height as much as by ability.

After dancers have been cast, a costumer measures each dancer (usually height, girth, inseam, bust, waist, and sometimes thigh and arm circumference or sleeve length).  The costumer then usually pre-selects pieces for each dancer to try on based on their measurements.  Though many costumes look like dresses from the stage, most are actually made up of a separate skirt and top that may or may not be eventually sewn together.

Corps dancers (such as Nutcracker's snow or polichinelles) all wear the same or similar costumes, so the costumer may have dancers trade pieces or try on multiple pieces if the pre-selected costume doesn't fit well.  There is also usually a lot of effort made to ensure the costumes fit each dancer the same way even though there are differences in the dancers' bodies.  For example, the romantic tutus on snow costumes must appear the same length when the dancers are lined up even though the dancers are different heights.  This may mean one dancer's skirt hits right below her knee and another's hits her mid-shin.

For soloists and principal dancers, there may only be one costume for that part (for example, only one sugar plum fairy costume).  The dancer cast in that role must be the proper size for the costume (within the possibility of adjustment).  It's a sad truth that sometimes curvy or extra-petite dancers are passed over for these roles because the costumes just don't work for them.

For the corps, soloists, and principals, once the correct costume pieces are assigned to each dancer, the costumer will make adjustments to ensure a perfect fit.  This often entails taking or letting out tucks, adding or changing straps, and shortening or lengthening sleeves and hemlines.  Dancers must put on their costumes and stand very still as the costumer pins the costume (usually with safety pins) and writes notes about what needs adjusting.

Sometimes if there are multiple casts performing a ballet or show, multiple dancers must share the same costume.  The director will be sure to cast doubles who are similar in size, but the costumer often still needs to take special care to make the costume fit both dancers well.  The costumer may sew on two different sets of hooks and eyes in a bodice so it can fit once dancer slightly more loosely than another, or straps can be put on snaps so they can be added and removed to accommodate different arm sizes.

When dancers are wearing company-owned costumes, they must take care of them.  Wear and tear is unavoidable during any physical activity, but dancers work to protect costumes by stepping gently into tulle skirts, keeping delicate pieces away from things that could snag them (like wire and bobby pins), wearing antiperspirant, and applying bold lipstick carefully.