One of the recent film Black Swan’s many poignant moments is “the cake scene,” when ballerina Nina has just learned she’s landed the role of the Swan Queen (Odette/Odile) and Nina’s mother presents her with, well, a huge cake. There’s a lot of fear around (eating) the cake; this could be due to many things emotional, psychological — but also physical. According to some specialists, like MIT researcher Stephanie Seneff,* artists like Nina could well be starving themselves of fats and cholesterol, and staying very thin with little buffer of fats and cholesterol. It could, in fact, be quite difficult to digest any fats presented to them (there’s not enough cholesterol to be able to synthesize bile acids) – in a sense, you become allergic to food. Depriving the body of cholesterol leads to (oxidation-) damaged cells and fats can become dangerous. Phew! Best not to deprive the body in the first place.

This also explains how nutrient-dense foods can sometimes be toxic in therapeutic treatments as well. Hence, the nutrient-poor therapeutic treatments for cancer, may work, in part because the alternatives aren’t (literally) very appealing!

For more telling reviews of Black Swan: see Wendy Whelan’s work at http://www.thedailybeast.com/blogs-and-stories/2010-12-04/black-swan-movie-ballerina-wendy-whelan-reviews/

*See links in http://resilientfarmsnourishingfoods.blogspot.com/2011/01/solar-nutrition-fat-and-sun-are-not.html

One of the most disturbing movies I’ve seen recently is Black Swan. Reportedly ten years in gestation, the movie is provocative (on many counts) and is a strong statement on perfectionist tendencies that are utterly destructive. If there is any consistent theme in the movie, it has to do with the power we have to create environments of our own choosing. Clearly, in Black Swan, the young ballerina (Nina, played by Natalie Portman) who is cast as a “new” Swan Queen feels vulnerable and powerless. Nina’s attempts at transformation from the ephemeral white swan, Odette, to a cunning femme-fatale Odile is a main focus of the film.

Supposedly, Portman was in training for many months to achieve a sylph-like appearance; port-de-bras was perhaps achieved more easily (see young dancer Holly Lynn Fusco’s account of her work as a ballerina on the set http://www.dancespirit.com/articles/2824). ABT Soloists Sarah Lane and Maria Riccetto filled in for the two main leads, so every scene we hear had to be shot twice, once with the actors, and once with the dancing doubles, and then the multiple takes edited.

The movie is brilliantly directed by Darren Aronofsky. Still, at times, the movie can feel more like Shutter Island than The Red Shoes. For other critics’ takes see, http://thephoenix.com/boston/arts/112791-dance-critics-take-on-black-swan/ (Marcia Siegel) and for dancers’ see
http://www.theballetbag.com/2011/01/08/what-do-dancers-think-about-black-swan/ Few feel it describes well their profession and its challenges — some say it may even damage ballet’s image, certainly Swan Lake’s position in audience-pleasing repertory – personally, I don’t think it will.

For me, infantile treatment (by mom Barbara Hershey) and the infantile-nature of the young ballerina, the self-mutilation, the psychotic fantasies, are horrifying. As is echoed repeatedly, perfection is not just about control, it’s also about letting go. Seems like there’d be more than the one (bloody, self-destructive) way presented in the movie to achieve this. But then this psychodrama wouldn’t be half as creepy as it is.

I am struck by how something as simple as focus — during exercise — can actually increase caloric expenditure. It’s easy for eyes-to-glaze-over in technique class, sometimes we are barely present. True, dance can serve as a kind of meditation, but often, at least in classical ballet, the dance practice itself has direction and intent, certainly in the effort to improve technique. Just recently, I noticed untrained dancers (as in a jazzercise class) gradually learning to make bodily connections, which include good upper torso placement, deliberate and very active placement of arms (even during vigorous exercise), a well-aligned cervical spine, and yes, a gaze that is purposeful. When all of that happens, exercise for proprioceptive training (balance, coordination) – and increasing calorie expenditure – seem to go hand in hand.

Eat fat to lose fat? For more, see
http://resilientfarmsnourishingfoods.blogspot.com/2010/12/happy-new-year-old-ideas-new-ideas.html

My most recent submission as book review editor of the Journal of Dance Medicine and Science (the publication of the International Association for Dance Medicine & Science) includes a review of these recommended books.

Aerial Dance by Jayne C. Bernasconi and Nancy E. Smith (Human Kinetics 2008)

and Overtraining Athletes by Sean O. Richardson, Mark B. Andersen, Tony Morris

(Human Kinetics 2008).

Jayne C. Bernasconi and Nancy E. Smith’s Aerial Dance is a handsome book and a fascinating read on the technical and aesthetic dimensions of aerial dance. It includes video clips of aerial dance artists and companies on the accompanying DVD. The book is part dance history, part kinesiology, and part dance appreciation – especially with its personal vignettes and accounts from dance artists and directors such as Stephanie Evanitsky, Jo Kreiter, Frederique Debitte, Robert Davidson, Susan Murphy, Amelia Rudolph, and Brenda Angiel. Chapters on “Flying Safely,” injury prevention, and rigging for aerial dance are included.

Overtraining Athletes, by Sean O. Richardson, Mark B. Andersen, and Tony Morris, is a good addition to the Finding Balance literature.  Issues around overtraining are presented from a variety of perspectives and levels of expertise. Also included is a good discussion (and comprehensive model) of risk factors that increase the probability of overtraining, as well as actual case studies of those seeking in unhealthy ways the illusive goal of perfection.

New York Times critic Alastair Macaulay (referred to as “the nation’s most prominent dance critic” in an Associated Press story by Jocelyn Noveck) must have been in some Nutcracker Act II doldrums for him to focus on a ballerina’s weight in what is now known as the quip heard ‘round the world’ [charging the ballerina with having “eaten one sugar plum too many”]. I would think he’d have chosen a different target (much less, topic) than one of New York City Ballet’s top ballerinas — Jenifer Ringer. She’s certainly on my top ten list – my profile of her in the 2005 edition of Finding Balance discussed her artistry, her willpower, and just plain spunk. She’s appeared more than once on the cover of Dance Magazine.

So, what’s in a sugar plum anyway? From what I can tell, they’re moistly spherical sugary confections. Good call on the excess sugar (as opposed to fat) and weight gain link. But, excess weight on a ballerina like Ringer? Not even close. Looks like Mr. Macaulay may have had one too many Nutcrackers.

Recently, I received an email from University of Wyoming’s Margaret Wilson about a student’s critical essay on my book, Finding Balance (Wilson has used the text for awhile in the Department of Theatre and Dance, and has students review it with critical essays). Professor Wilson sent one such essay to me, written by Lindsey Carter. With Carter’s permission, I note her generous prose, “No matter the metaphor, the title [Finding Balance] notifies the readers that the book in their hands will cover many subjects, finding equilibrium between them all … With such challenging demands, the importance of understanding the needs of the human mind, body, and soul become absolutely necessary…”

Later, Carter notes, “Technique and endurance may make a dancer powerful to watch, but on the inside, self-esteem provides the inspiration. [highlighting is mine].” To Carter’s wise words, I would just emphasize that such overall balance is critical for longevity of career in, enthusiasm for, and/or appreciation of this demanding art form. It certainly doesn’t help that dance critics may be using lenses (of thinness — see my more recent posting on “One sugar plum too many?”—or, of technical tricks) that are narrow and limiting. Sadly, it’s often the off-balance dancers that get noticed.

Finding balance is easier said than done, but reading such thoughtful prose from dancers-in-training (i.e., Lindsey Carter’s), makes me hopeful that, one day, the lenses of common sense, self-esteem, and self-confidence will reign. As Carter says, “…the importance of taking care of one’s body and mind, rather than trying to conform to what the term ‘ballerina’ means to most…” seems to be the hallmark of a healthy dancer – and, perhaps, a breathtakingly beautiful one as well (see for example my discussion of Catherine Cabeen in Finding Balance, or go to http://catherinecabeen.blogspot.com/, or my Seattle Dance feature in the January 2011 issue of Dance Magazine). In the meantime, let’s watch dancer Lindsey Carter to see what purpose of and meaning in movement she will bring to our wide world of dance.

Another positive experience in dance – the Bellingham Stars teens were part of the grand finale in U & Me Dance’s emotion-filled gala at the Majestic Theater in Bellingham (see images) last weekend. A generous and forgiving tuition-payment policy and thus lack-of-ready-cash may have been part of the reason for an eviction notice earlier.  Certainly, dancers and dance companies losing instructional, rehearsal, and performing space is not new. Still, this Studio was noteworthy for the joy of dancing and pleasure in performance that it always delivered. The enthusiasm and positive attitude was infectious, and will continue as Nathan Simler Ballroom (www.nathansimlerballroom.com) and The Bellingham Dance Company (www.bellinghamdancecompany.com) in various spaces in the area.

Thanksgiving marks the beginning of the Nutcracker season, and the time we writers reach far and deep to comment, critique, profile, feature, and elevate the famed Nutcracker. In truth, there’s plenty to write about. It’s one of classical ballet’s anthems of movement, and after 100+ years, still evokes seasonal feelings of nostalgia and appreciation for the art form.

This season, a handful of different productions of the seasonal favorite will be aired December 6-December 20 (see http://www.OvationTV.com), including Casse Noisette Circus of the Ballet of Monte Carlo, Maurice Bejart’s Nutcracker, and offerings from the Berlin State Opera and Bolshoi Ballet. I’ve just viewed the 2009 Royal Ballet production airing December 6, with Peter Wright’s choreography and featuring the lovely Mikayo Yoshida as Sugar Plum Fairy and the reliable Steven McRae as the prince. The production is smart and traditional enough to please any balletomane. What a contrast to the Chinese State Circus performing another Tchaikovsky favorite, Swan Lake — with its astounding grand pas de deux (see http://www.nzwide.com/swanlake.htm, about 30 seconds into the clip). This is a production that takes one’s breath away, mostly for its shock value – featured dancers are an astounding mix of aerial artist-gymnast-ballerina.

In this production, rather than being lifted by her partner, the acrobatic Odette dances on top of her partner, on his shoulders, on his head, on his arms – all on pointe. One has to change (classical sensibility) lens to really see the performance – marked by its sustained character and its lyrical ensemble dancing. By contrast, the Chinese State Circus production is a staccato affair, and so full of tricks as to completely overshadow any corps presence. Really, though, that’s my only criticism, for it offers a lightness achievable only, perhaps, by elevating hyperextension to an art. It’s worth a look.

Noelani Pantastico is alive and well — and thriving in Monte Carlo. Ms. Pantastico has been with Les Ballets de Monte Carlo in Monaco since last summer (see also my guest blog at DanceMagazine.com — http://www.dancemagazine.com/blogs/guest-blog/2761 — and also my feature in Dance Magazine, “From Dance to Danse,” January 2009).

When I spoke to Ms. Pantastico from Italy this week, I asked her what was different than expected. Her reply? The main difference is that she’s joined a company that tours – a lot. The company has been on six tours this year, and left for a seventh tour this week.  There will be six more tours this season, including Spain and Israel.  One of the hardest things for the ballerina was getting into some kind of regular daily rhythm, especially with sleep.

What’s her rep been like so far? Says Noe: “Lots of Maillot!  For me it’s a transition year, so it’s a LOT of learning the repertoire. “

Noe had hoped that one of the biggest plusses at Monte Carlo would be the coaching. She first worked with Bernice Coppieters (company Etoile) and Gaby Baars (ballet master) in Seattle.   Says Noe: “What I experienced from these two was bliss then.  I knew that I wanted to continue that coaching, and that is what helped me to decide to join the company here.  I am blessed to work with Bernice on a daily basis and watch her dance.  She has mastered Maillot’s vision, along with helping create it.  I have been fortunate enough to work with her again this past year on Jean-Christophe’s La Belle.”

Ms. Pantastico’s partner, the dance writer Brady Hartley, together with Isabelle Ricard (Directrice de Communication at Les Ballets de Monte Carlo) kindly escorted me around the Beausoleil studios last week  (again, see http://www.dancemagazine.com/blogs/guest-blog/2761). Overwhelming, is the best word I can find to describe the artistic atmosphere.  I couldn’t imagine a more productive place, for a young artist.

Ms. Pantastico adds: “Sure, I’ve sacrificed some things, but [with the exposure to new work] look at what I’ve gained.”

Nothing less than, the world.

Noe Pantastico, relaxing in Paris (with other dancers, not shown)