Resistance exercises for dancers
2 – Nourish your body. To get the svelte look of ballerinas you need to build muscle mass and reduce body fat. This will not be possible if you do not provide your body with the necessary nutrients. Also, if you do not consume enough essential vitamins and minerals, your connective tissues will be more susceptible to injury and that will prevent you from training. To burn calories you must begin a diet that is nutritionally appropriate for your current physical condition. In the long run,.extreme diets that greatly limit the amount of calories or suppress protein will spoil your ballerina look.
5 – Train your body with exercises that mimic ballet movements. For example, if you manage to develop your extension (your ability to lift one leg straight out in front of your body) and a good arabesque posture, you will be able to move like a ballerina, even unconsciously.
6 – Improve your balance. Balance is a neurological phenomenon. Balance exercises, such as those in which you must perform certain simple movements with your eyes closed, are not necessarily physically demanding, but they can be very difficult at first. If you practice these exercises regularly you will train your brain and nervous system to keep your body centered on a physical level while doing all your activities, and you will move more gracefully without even thinking about it.
What dancers train
Any physical activity burns calories to produce the energy needed for that exercise (just like gasoline in a car), but most of the energy used for flamenco dancing does not come from fat, which is what would make you lose weight, but from the reserves in the body of carbohydrates ingested. Flamenco is an anaerobic exercise (high intensities of effort at irregular rhythms), which leads to very little weight loss compared to aerobic exercises (low intensity and constant rhythms) such as running, swimming, cycling or skating.
It is highly recommended to improve aerobic endurance, as a good pillar of health and physical preparation, and among other things to be able to maintain a good physical level on stage. But perhaps, for professional flamenco dancers, running is not the most recommended exercise. During the dance there are countless impacts that the body must absorb and for which it has adapted over time. During the race many impacts are also generated, but very different and for which the dancer’s body is not adapted, which can trigger overloads and injuries. It would be more appropriate to skate or cycle to improve the aerobic endurance without the danger of impacts, or even to stomp at a certain heart rate, but if it is not controlled, there is a risk that instead of aerobic exercise, anaerobic exercise is done, i.e., the endurance is not worked.
In the evening, with a space of 2 hours after the activity and before going to bed. Digestion also consumes blood and energy, so if you go to bed after eating you will be taking away the efficiency of recovery and digestion will take longer.
– Both at the moment of the jump and at the moment of the fall, special attention should be paid to the use of the process: toe-mid-heel-heel, remembering never to leave the full weight on the heel but on the metatarsus.
– The toes are ALWAYS stretched out. Pay attention to the eversion and extension of the feet while they are in the air, whether it is the one in the cou de pied position or the one of the leg that is extended.
– Of the arms in arabesque: the one in avant must have his hand at the dancer’s eye level; the arm in seconde must not be above shoulder height or below the waist line.
– Remember that the dancer must always appear long and light, regardless of conditions such as height or weight. This can be achieved by stretching the arms and legs, lifting the chin and always keeping the shoulders low.
Physical conditioning for dancers
We believe that going through all the maturational stages (such as puberty or adolescence) immersed in a ballet academy at the very least is difficult on the psychological aspect of the dancer.
Soft but resistant tendons allow us to understand how a ballet dancer’s feet should be and to develop better pointe work in class. The elevation of your legs as you get height in your positions, the shaping of your lines and the projection of the back are big requirements.
Starting from big or adult classical dance may mean you don’t have that work in your anatomy, but it doesn’t define that you give up on the idea of dancing. Making up for lost time is the way to go.
Getting an aesthetic profile and a clearer idea of the body stereotype you will develop in the future will facilitate the direction of the physical work you take. It will help define the direction of your career as a professional dancer.
She has overcome many family and personal issues (she rejected her own body) to get where she is. As mentioned above she started her studies past the age limit and the effort paid off.