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Theresa Ruth Howard Dancer/Writer/Teacher Theresa Ruth Howard began her professional dance career with the Philadelphia Civic Ballet Company at the age of twelve. Later she joined the Dance Theatre of Harlem where she had the opportunity to travel extensively throughout the United States, Europe and Africa. She has worked with choreographer Donald Byrd as a soloist in his staging of New York City Opera's Carmina Burana, his critically acclaimed Harlem Nutcracker, as well as the controversial domestic violence work The Beast. She was invited to be a guest artist with Complexions: A Concept in their 10th anniversary season. In 2004 she became a founding member of Armitage Gone! Dance. As a writer Ms. Howard has contributed to Russell Simmons’ One World magazine (art), and The Source (social politics), as well as Pointe and Dance Magazine. While teaching in Italy for the International Dance Association she was asked to become a contributor for the premiere Italian dance magazine Expressions. Her engaging, no nonsense writing style caught the eye of both the readers of Dance Magazine and its Editor in Chief who not only made her a contributing editor and has collaborated with Ms. Howard in See and Say Web-reviews. Her articles about body image prompted her to develop a workshop for young adult (dancers and non-dancers) My Body My Image that addresses their perceptions both positive and negative about their bodies and endeavoring to bring them closer to a place of Acceptance and Appreciation. She recently launched a blog by the same name to reach a broader audience (mybodymyimage.com) As a teacher Ms. Howard has been an Artist in Residence at Hollins University in and New Haven University in addition to teaching at Sarah Lawrence College, Marymount, Shenandoah, and Radford Universities, and the historical American Dance Festival. As a result of her work at ADF Ms. Howard was invited to Sochi, Russia to adjudicate the arts competition Expectations of Europe and teach master classes, and in Burundi, Africa where she coached and taught the Burundi Dance Company. Currently she on faculty at The Ailey School but also extensively throughout Italy and Canada. Ms. Howard's belief in the development, and nurturing of children lead her to work with at risk youth. At the Jacob Riis Settlement House in Queensbridge New York, she founded S.I.S.T.A (Socially Intelligent Sisters Taking Action) a mentoring program for teen-age girls where she worked to empower them to become the creators of their destinies. In addition she developed a dance program, which lead to an exchange with the Dance Theatre of Harlem. Through her teaching and travels Ms. Howard began to observe a universal disenchantment and disconnection in teenagers that disturbed her, thus she set out to address it. Combining her philosophies of life and teaching, with the skills she garnered through outreach programs with diverse communities, she developed the personal development workshop Principles of Engagement: Connecting Youth to the Infinite Possibilities Within which gives teens a set of workable tools to increase their levels of success at tasks, and goals not only in dance, and all aspect of their lives. Theresa Ruth Howard is certainly diverse and multifaceted as an artist, and is moved to both write and create work; however she sees every student she encounters as a work in progress, and the potential to change the world one person at a time. The only was to make this world a better place it to be better people in it!

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Men Have Body Image Issues, Too – Kate Fridis gives us the Low…

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By Blogger, Eat The Damn Cake

Kate FridkisKate Fridis

People think body image is only about girls and women.

When I say I write about body image, sometimes people say, “Oh, women’s issues.”

And they are right. And they are wrong.

We have imagined these big immigration fences around so many issues, as though no women can get out and no men can get in. A friend of mine who works for a domestic violence prevention organization, discussing Steubenville, pointed out that so often, we talk about saving women, but we don’t talk about educating men. We talk about ourselves as though we are born into separate camps and then stay there, sometimes harmed for practically inexplicable reasons by the people in the other camp, sometimes simply dealing with issues that don’t affect them, that they can’t really comprehend.

I don’t think we should ever turn a conversation about rape survivors into one that focuses exclusively on boys and men (unless we’re talking exclusively about boys and men who have been raped), and it’s perfectly clear to me that beauty rules are stricter and beauty expectations higher for girls and women. But the story definitely doesn’t stop there, and when we act like it does, we perpetuate that notion of separate, fenced-off camps. I’ve always liked to climb, though.

Girls and women are able to talk about body image concerns in louder voices and in more public spaces, and guys are often just not supposed to care, so they keep quiet. Girls and women are actually not supposed to care, too, but when we do, it seems to be more forgivable. But boys and men are also struggling with the way beauty works in our world. Especially, I’ve noticed, with the way fat is demonized. But also with the other specific requirements of physical attractiveness that so many of us learn to believe in as fiercely and automatically as we believe in God or scientific fact. In the Captain America story, we fairly cheer when the slender, delicate hero is transformed into a strapping, muscle-bound fighting machine. He can save the world now, because he’s jacked. Before, there was no chance. He had to switch bodies to succeed.

I could tell you a story about a boy who was always small and thin, who felt invisible inside his baggy clothes, and so he retreated, shoulders hunched protectively forward, making incessant jokes about his own “wimpiness.” There was no magical electrode machine waiting in a shiny lab somewhere to pump him up and set him free.

And what about the boy who was teased for being chubby and how he always wore a shirt when he went swimming, and how he felt that he didn’t look “smart,” because “fat kids are supposed to be dumb”? He later locked himself in the gym every day with such ferocious dedication that everyone was impressed. And when he emerged, after eating nothing except for a can of tuna every day and working out for hours, lightheaded, big-armed, slim-waisted, everyone praised him and praised him for looking so good. For taking charge of his life. For manning up. People are always so happy for someone who loses a lot of weight. But it is more complicated than that. I could tell you about how he looks at his body hatefully, even now, years later. He is embarrassed of what he was — it seems unforgivable that he was so “lazy,” and he is always afraid of slipping. Of sliding backwards into the dark hole of softness, when he was fairly certain that no girl would ever want him, when he felt people’s eyes on him, judging, constantly. When he thought he needed to hide his body.

I could tell you these stories, but they would only be the beginning. When you listen carefully, the stories appear everywhere, vivid and almost indistinguishable from one another. There are variations and slight deviations of the plot — guys who have been made to feel that they are too short, too hairy, too bald, too “feminine” — but for the most part, there is that incessant sense of guilt, of self-loathing, and that addicted desire to improve one’s life by changing the way one looks.

A friend of mine who is in therapy to cope with an eating disorder whispered to me over coffee about her boyfriend, who won’t go to therapy, but he also won’t eat. He exercises for hours every day. If he doesn’t make it to the gym, he feels disgusting, he feels like a failure. He works all day, and he is dizzy, always on his feet, but he says he’s fine, he’s fine, he knows what he’s doing. He’s challenging himself. He’s getting in shape. He explains that he used to be fat. He can never go back there. She doesn’t know what to do about it.

I know guys who have fainted. I have dated them and not caught on for a surprisingly long time.

I know guys who make constant self-deprecating remarks about their bodies. Manly men, cocky dudes, bros who are obsessing over their waist fat, over their biceps, over whether or not they’re finally OK.

“Totally manorexic,” I’ve heard guys tease each other. But it’s a joke! It’s totally a joke! That stuff is for girls. Obviously.

Obviously not.

continue after the JUMP

Model and Paralympian Aimee Mullins on Flaws, Not being a Role Model and Sword Fighting?

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If you are not aware Aimee Mullins is kinda of a cool chick, first she is like the female (super-smart, non murdering)Oscar Pistorius before we knew who he was. In fact the two Paralymians suffered from the same condition fibular hemimelia (missing fibula bones) resulting in their legs being amputated below the knee. However it has never held her back she has:

competed against able-bodied athletes in NCAA Division I track and field events, and is the first double-amputee sprinter to compete in NCAA track and field for Georgetown University.

Competed in the Paralympics in 1996 in Atlanta, in which she ran the T42-46 class 100-meter sprint in 17.01 seconds[1] and jumped 3.14 meters in the F42-46 class long-jump.images

In 1999, she modeled for British fashion designer Alexander McQueen in his London show, on a pair of hand-carved wooden prosthetic legs made from solid ash, with integral boots.images-1

She has been named one of the fifty most beautiful people in the world by People.

In 2002, she appeared in Matthew Barney’s Cremaster 3 as a cheetah woman (the Entered Novitiate and Oonagh MacCumhail).

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She appeared in Dazed & Confused magazine 1998, Coverage, and Kenneth Cole 2009 Campaign.

And was appointed L’Oréal Ambassador February 2011.

I was pleased to find this video interview with Mullins who is in Cannes representing L’Oréal, it she talks about the obligatory fashion red carpet stuff but she towards the end (4:37) she talks about not considering herself a role model, her new work out sword fighting, and body image, finding the best version of yourself, (relative to a post I just put up) how a flaw becomes a signature!!!

How Noticeable are Your Flaws… Really?

What is a flaw really? Okay, Okay we all know what a flaw is, I guess the question I am really asking is when does a flaw, turn into something else? Something like a signature- I cite
Lauren Hutton’s gap between her teethimages-1

 

or Padma Lakshmi’s scar on her arm,
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or singer Seal’s facial scars, images-3
or Joaquin Phoenix’s hair lip, images-5
or Tina Faye’s facial scar. images-6
Cindy Crawford was told by several modeling agents that she would never work with that mole on her face (go figure).
For these people things once considered unsightly, have with time been transformed not merely identifying signatures, but also carry a bit of mystique with them. They set these people apart, give them an edge and draw us in, begging the question “How did that happen?”
Now for the average person who does not make millions of dollars to be in the public eye, it might translate into a different story altogether. These “flaws might us self conscious, we might devote a great deal of time and money devising ways of camouflaging them.
I recall how shocked I was when just after the end of Sex in the City, It girl Sarah Jessica Parker got her mole removed. I thought to myself “Why after all of these years, and years in front of cameras would she get it removed now?”. I felt a little betrayed, here’s why:
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Sarah Jessica Parker is less than a “classic beauty”.  In her early career she was often cast as the nerdy girl (Square Pegs), but she has that soft, vulnerable, wispy voice and a waifish but hour-glass, buxom figure so, as she matured even though her face was not classically beautiful she had an allure, she was quirky and sexy (think The First  Wives Club) she played a quirky sex kitten. Then she became the icon of a generation of women who were single, sexual, and wore open toed shoes all year round in NYC, with Sex in the City and Carrie Bradshaw, Sarah Jessica Parker made a quirky, oddly attractive, Jewish girls Hot! (not to say the weren’t before – but in entertainment). I liked the fact that she (both Parker and Bradshaw) were not Hollywood, model girl “perfect”. Okay but let me look at that, she was blond(ish), skinny, big, boobs,….well you know what I’m saying, her face threw the whole equation off- it’s longish, with a long nose (a Hollywood no-no) kind of masculine, and then there was the mole…Blogs called her all sorts of horrible things, horse face, witch, you name it. But the thing that I loved about SJP is that she was like the Teflon actress, no matter what mean spirited cyber-bloggers said about her, women (and men loved her). Women wanted to be her (or at least her size so they could raid her closet) and men wanted to date her, or at least sleep with her. Either way “horse” face or “witch” mole- SJP was the girl to be…
In my mind, being that IT girl, being on the cover of fashion magazines, scoring coveted beauty campaigns that she would feel…perfect, or at least be fine with her appearance… but then she had the mole removed. I have been at this body image thing long enough to know that no one no matter how thin, tall, beautiful, rich or famous is immune to having issues about their appearance… but that having been said, I have to admit I took it personally.
But here’s the thing… After a few months when it was award season or what have you, there were a slew of red carpet pics of SJP, there she was swathed in couture and mole-less, and I didn’t even notice… for all the emotional upheaval, I completely forgot that the “signature” flaw was absent! Which leads to the subject at hand, how noticeable are your flaws ….really?
Clearly our flaws are things that mainly bother us. Often when pointed out to other people they almost always say they had never noticed it until, well until we pointed it out (and we always think that they’re lying). If you think about it there things that when you first meet someone you might notice, but after getting to know them they fade away behind their personalities and the relationship. That overlapping tooth, scar, mole, even acne (if that can be considered a flaw) can disappear when they become the familiar. If we look at “flaws” and things that are just different, instead of imperfections then perhaps they might not hold so much power, and instead of limiting us they can make us limitless and singular!!!!
check out the study
Hosted by youbeauty.com
The Study:
The spotlight effect in social judgment: An egocentric bias in estimates of the salience of one’s own actions and appearance.
The Researchers:
T. Gilovich, V. H. Medvec, and K. Savitsky
Published In:
Journal of Personality and Social Psychology, Vol. 78(2), pp.211-222, 2000
Prognosis

Others rarely notice our flaws.

Particulars
You know that hugezit you’re obsessing over? Stop worrying. According to this study on a psychological phenomenon called the “spotlight effect,” people don’t notice your self-perceived flaws as much as you think they do (if at all!).College students were asked to wear t-shirts plastered with images of “embarrassing people” like Barry Manilow and Vanilla Ice (which sound rather awesome to us), and walk into a room full of people. The students thought the others would notice their shirts much more than they actually did. But if students were given time to get used to wearing the embarrasing t-shirts, they thought fewer people noticed them.It seems that our self-perception stems from how much we’re thinking about our looks and actions: the less we’re thinking about it, the less we believe that others are thinking about it.
Beauty connection
Ever agonize over a bad hair day, or hold back in a conversation for fear of sounding stupid? Just remember that others will notice these things less than you think they will. If you’re worried about your appearance, step back from the mirror for a while and let yourself go through your regular routine—getting your mind off of it will reduce your self-consciousness.

Click here to read the full study.

Breakthrough: A Plus Size Dress Form That it TRUE to Form…

My first question is:

Why the hell did it take so long?

But then we know the reason for that don’t we. Heavier girls are worse then second class citizens, after all %54 of all women would rather be hit by a car than be fat…

Here’s the dealio, Two sophomores from Cornell University Cornell University  Brandon Wen and Laura Zwanziger have developed a plus-size dress form by WAIT for IT– actually researching the plus size figures of actual women, and not just giving girth to the smaller size fit models in the same exact proportions. Instead they took the time and energy to actually analyze body scan plus sized pear shaped women to determine where and how much curve and contour is generally needed. Kudos to them- now this was for a school project- can you smell dress line?! I know there are a lot of high end designers that will be knocking at their doors trying to get their hands on that form. It’s a real game changer. There are so many full figured women who would love to wear certain brands, but either it doesn’t come in their size or the fit is not right, and after shelling out that type of money who wants to spend more having it tailored? Hey you know the first company knocking at their door will Abercombie & Fitch  

 

This is a win for everyone especially for the curvy girls walking the gangplank to the fitting rooms. Check it out:

Hosted by: news.cornell.edu

Fashion students create outfits for plus-size women

design students

Mark Vorreuter
Students in the Department of Fiber Science & Apparel Design present their plus-size dress form.

For their Product Development class, Cornell apparel design sophomores Brandon Wen and Laura Zwanziger decided to create a clothing collection designed especially for plus-size women after their research revealed an overlooked market.

But they faced an early barrier: So few clothes are made exclusively for larger women that there’s a scarcity of full-figured mannequins available, and the few that exist resemble crudely scaled-up versions of thinner women of Barbie-like proportions. Undeterred, the students built their own plus-size dress form.

Under the guidance of Susan Ashdown, the Helen G. Canoyer Professor in the Department of Fiber Science & Apparel Design (FSAD) in the College of Human Ecology, they analyzed thousands of 3-D body scans of women to define a prototype body size and shape. The team matched it to a single scan of a pear-shaped, size-24 woman from the FSAD department’s 3-D body scanner and used it to develop a pattern for the shape and contours of their mannequin. Next they used the department’s laser cutter to slice half-inch think pieces of foam and stacked and glued the layers to create their model, a half-scale dress form that allows designers to develop prototype garment patterns that can later be replicated at full scale.

“It’s a wonderful example of using innovative technology to support design work,” said Ashdown. “Instead of just scaling up something designed for a different-sized woman, or even thinking about clothing as something to disguise a body or make a body look different than it is, the students sought to celebrate shape as it really is.”PlusSize2

At their final class presentation May 13, Zwanziger, Wen and exchange student Abbey Jennings unveiled their collection, called Rubens’ Women, after the Flemish painter famous for his illustrations of full-figured women. It features four jackets and a skirt and pants tailored to complement the curves of larger women.

Wen, the lead designer on the project, said he hopes such a line could alleviate the stress many plus-size women face when browsing in stores or online, where their shopping often ends in frustration due to ill-fitting clothes.

“A lot of stores won’t have plus sizes in the store, so people have to go online and find them, and it’s difficult to find them online,” Wen said. “Plus, a lot of plus-size women don’t want to shop in regular stores around thin customers; it’s a self-consciousness thing.”

The team also developed a marketing plan and even negotiated with a San Francisco-based manufacturer to develop a suggested price for their line.

They noticed a huge opportunity after their market research showed that plus-size women hold 28 percent of purchasing power for apparel and accessories, but their spending only accounts for 17 percent of purchases, according to Zwanziger.

“A lot of the clothes [for plus-size women] are really just sized up from smaller proportions, which fit really strangely,” Zwanziger said. “Plus-size women feel alienated from the fashion industry.”

Making a fashion line specifically for larger women is a very different process, but an important one, Ashdown said.

“Issues of health aside, we’re all different body shapes and body proportions,” she said. “Each person deserves to have clothing designed for them as they are, not as they relate to some abstract industry shape.”

Sarah Cutler ’16 is a student communications assistant for the College of Human Ecology.

 

 

 

What Price Beauty?…body modifications from around the globe- strange or just different?

From cinching with corsets, to Chinese foot binding, people have gone to great lengths and through great pains to acquire their era’s standard of beauty. As we are well aware from era to era that standard and the requirements of beauty change, sometimes drastically. During times of great poverty being fat was a thing of beauty because it meant you had money enough to eat- with regularity and well. Conversely in our times it seems the more money you have to eat in great restaurants the less you actually eat and the thinner you should be! Ironic huh? With the advent of the Internet and global commerce and marketing, a single concept of beauty (based on the Western- Anglo aesthetic) has  emerged resulting women around the world wanting to be lighter, blonder, thinner African and East Indian women lighten their skin and stay out of the sun, Asia women surgically remove the folds over there eyes to have a more round appearance, the modifications are endless. However even with the ubiquitous air-burshed ideal looming over women (and men) from billboards, peering out from fashion magazines, and flicking by out television screens telling us all what we should want to look like, within every country there still is a cultural standard of beauty that is ever present. You might not agree with tribal scarring, neck lengthening or the like but as the saying goes, beauty is in the eye of the beholder. Check out some of the latest culturally specific beautification treatments that are hot trends in other countries!

From Senegal Gum Tattooing…

From Japan Bagel Heads…

Pointe Magazine’s Company Life: Don’t Get Cut!

Candid audition advice from a dancer who’s been on both sides of the table
By  Theresa Ruth Howard
Published in the February/March 2010 issue Pointe Magazine

Therasa Howard

Photo by Julieta Cervantes

I remember it clearly: I was 8 years old, on the way to audition for Dance Theatre of Harlem’s two-week engagement of Doin’ It. While pulling on my tights in the back seat, to my complete horror, I discovered an inch-wide run on the upper thigh.

For 188 of the 200 children who tried out, the audition ended in heartbreak. Yet despite my holey tights, I made the cut. Oddly, I wasn’t nervous that morning. It may well have been one of the last times that pinning on a number didn’t fill me with anxiety.

As dancers, we train to dance, not to audition. You worry about the height of your leg, your weight and how many turns you do. But you seldom think about your “energy” or authenticity as a person. Yet years later, when I helped run auditions for Karole Armitage, I learned that these elements are what make you stand out in a sea of bodies.

Let me let you in on a dirty secret: So you think you can dance and that is what it’s about; well, it is, but that’s not all it’s about. While I wasn’t stunned by the politics behind the table, what surprised me was how many of the deciding factors had nothing to do with the dancing. You’d be shocked at what gets discussed in those hush-hush huddles. There is the girl who, despite the “general” comment to stop looking in the mirror, keeps peeking at herself. Then there’s the guy who thinks he has an “in” because he knows someone in the company, but forgot that the last time they worked together he got fired for partying too hard.

For me, I’ve always had a strong personality. It’s almost impossible to camouflage my feelings when I’m auditioning—especially if I get frustrated. I’ve had to learn to be neutral so that it doesn’t read in my body. (I’m still not good at it, but I’m aware, which reduces collateral damage.)

I ran into the most audition trouble when I started going out for Broadway, which I only did for the paychecks. It never occurred to me to prepare (picking up sheet music for “Big Spender” doesn’t qualify). I was like Dora the Explorer trying to find the note. I became afraid of making the cut, which started to affect the dance portion of my audition. Needless to say, I never booked a gig.

continue at Pointe Magazine online after the JUMP!

Check the video with Editor Jenny Stahl and T’ruth for more tips!

59 can be Fabulous!!! Old G Super Model Christie Brinkely has still Got it (never lost it!!)

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You have to admit there is something to be said about an elegantly aging woman. Women in Europe have been doing it for years while it seems American women fight it tooth and needle (although  now a days it seems that that no nation is immune to the Botox , and filler addiction). But when you see a great beauty ease into middle age, letting the wisdom and a life lived show either through graying  hair, or fine lines and carry it with pride and grace it is encouraging, inspiring. It is natural for women to put in some extra weight after a certain age, and when they dress their fuller form age and shape appropriately it is a win for all, and when they manage to maintain the figure of their “second act” they take all the young girls to school. Well the Academic year might just be ending but supermodel Christie Brinkley just rang the bell in her latest photo shoot for Social Life magazine. Ladies take note!

 

 

 

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Here she is in her hey day when she posed for Sports Illustrated‘s 1979, 1980, and 1981 issues. Do YOU see a difference?

Frankly ( I don’t know how much air brushing is involved but) she looks better, she is snatched now, she still has a “baby fat” in the SI pics, it’s nice to see that old ’80’s curvy girl frame– miss it!!!

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In Her Words: Chandra Roxanne – Nameless

croxanneChandra Roxanne is originally from Maryland, currently residing in New Haven, Connecticut. She training to be an opera singer while pursuing her Masters in arts management; In her spare time she enjoys writing poetry.

NAMELESS

 

 I am your statue of violation; made beautifully for your distaste.

…painted distortions… a Picasso?

No, no work of art am I, but a kneaded clod of your configuration:

groped colors, oestrus shapes, raped tones. 

My body— made from the most indestructible material for your destruction;

I am nothing more than nothing. I am abandoned. I am jerked. I am pulsed.

Your hands snatch and rake, wring and wrench.

Your eyes—hangers—rip daily into my flesh gorges, sinews, vomited with hatred.

My essence—depleted. My soul—whitewashed. My heart—crumpled. 

Betrayal’s craters and the debris of rejection often brand me. 

The tastes of love know not I, and loneliness’ poison is my blood.

 

I am your statue of violation; perfectly designed for your distaste.

My head:  non-existent, for you are my head

My neck:  your Babylonian tower to topple like the mighty Samson

My shoulders: your platform for my forced submission

My arms:  your reins to keep me on the straight and narrow

My breast:  your forsaken lots and lost change

My ribs:  yours, encaging my life force

My back:  your pharaoh’s chariot

My hips:  your Roman columns desecrated

My vagina:  your walled outlet

My legs:  your indentured walking sticks

My feet:  your waiter’s trays on which to keep your tapped rhythms.

 

I am your duty; your machine; your playground; your experiment.

 

I am your statue of violation—

made in your image…
I am Woman.

 

English National Ballet Direcor Orders Dancers to Put on Weight: IT WOULD TAKE A WOMAN!!!

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FINALLY! and brava to Tamara Rojo who will take the helm of the company next week. Rojo is one of  England’s greatest Ballerinas and she is taking a much needed stand on body image and type in the ballet world. By saying- more like demanding that her dancers look healthy and strong, and not encouraging the waif- like boyish figures that are synonymous with “ballerina” this departure could well be the tipping point for the ballet world at large. Ballerinas do have to be partnered and lifted no doubt but they do not have to be as thin as is becoming the norm (again– there was a time that ballet dancers were thickening back up… in a good way). It would take a woman who, was a girl training through puberty, who was not naturally teeny tiny or birdlike, who had to deal with being told that she needed to lose weight, in a time when people were not careful about your feelings or afraid of being sued, when they would say mean and hateful, hurtful things to your face, in front of classmates and company members, or talk about you to your partner in front of you, who made you guilty or fearful to put anything in your mouth, or GOD forbid to be CAUGHT eating!!…

Ms. Rojo surely knows that particular struggle and I am certain that a sort of healing will hopefully begin, both the one we can see (healthier looking dancers) and most importantly the ones we can, the healing of spirits that have been literally malnutrition by the ideology that made breast and hips shameful. It will be interesting to see if the injuries associated with eating disorder and dieting decrease…

I am so moved today. This was a win for women, for ballet, for dancers and bodies everywhere!!!!!

 

 

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English National Ballet Chief Orders Dancers to put on Weight after Audience Complaints that Stars are Too Thin
By Colin Fernandez
When Hollywood actress Natalie Portman dramatically portrayed a stick thin ballerina with an eating disorder in the film Black Swan, she provoked fury over her fictional account. Now the new artistic director of English National Ballet has confirmed the drama reflects the painful reality for many dancers. 

Tamara Rojo, widely considered the best female dancer in Britain, will begin the job next week and says she wants to stamp out anorexia in ballet.

She said: ‘Audiences want to see beautiful and healthy-looking dancers yet there is still that pressure to be thin.

‘Some comes from the fashion world and that in turn affects ballet. When you are in a ballet company, you often lose perspective of reality. So you go for extremes in order to stand out and be noticed.’ 

Miss Rojo, 37, who was born in Canada to Spanish parents continues: ‘But I have preached and will continue to preach. I have never been thin and I want for myself and for others to have long and healthy careers. This also comes from what is in your head, as the mind rules the body.’ 

Miss Rojo has played to great acclaim all the leading roles in ballet including those of Nutcracker, Swan Lake, Coppelia and Romeo and Juliet – and has been frequently compared to Dame Margot Fonteyn who was ‘definitely not thin’.

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he pressures on ENB ballerinas was highlighted by Only Fools and Horses actor Nicholas Lyndhurst, 50, who is married to Lucy Smith, a former ENB ballerina when he spoke out about anorexia in ballet in a 2005 interview with the Daily Mail.

Last year a leading ballerina at La Scala in Milan Mariafrancesca Garritano, was sacked after she
broke the unwritten code of silence by saying there was a ‘plague of anorexia’ in her company.

Miss Rojo has been compared to Dame Margot Fonteyn (pictured) who she says definitely was not thin Miss Rojo has been compared to Dame Margot Fonteyn (pictured) who she says definitely was not thin

Miss Rojo has been compared to Dame Margot Fonteyn (pictured) who she says definitely was not thin

Miss Garritano, who weighed just 6.8 stone at her lowest ebb who said she was taunted as a ‘Chinese dumpling’ and ‘mozzarella’ by her instructors: ‘Ballet and the world of dance is a beautiful form of art that should not be exploited and put the lives of ballerinas and dancers at risk,’ she said.

In Russia, The Bolshoi’s Anastaisa Volochkova fired for being too fat and too tall in 2003.

Deborah Bull, a former Royal Ballet principal dancer, has written of the dangers facing dancers as they balance the competing requirements to remain slim and yet still be strong enough to perform.

‘In the longer term a dancer who persistently consumes too little food can compromise bone health, leading to stress fractures and osteoporosis, [and harm to] the reproductive system, kidneys and heart.’

Ismene Brown, dance critic of theartsdesk.com said: ‘Audiences do not want scrawny and boney dancers.

‘It is the dance industry itself which wants what I call ‘ripped’ bodies – a look which is very thin but with visibly defined muscles.’ Brown added that ‘it is often gay choreographers who like this very thin and androgynous look’.

‘In general, choreographers have this idea of dancers as being thin athletes, while audiences see
them as artists’, she said.

‘Yet for me, and I’m sure the public too, this look comes across as ugly and not feminine.’

‘And Tamara Rojo herself is of a womanly and rather rounded shape.’
Read more: http://www.dailymail.co.uk/news/article-2130067/New-English-National-Ballet-chief-tells-dancers-weight-vows-stamp-anorexia.html#ixzz2TJMix7eE

 

Upgrade YOUR Components of BEAUTY (Teeth, Skin, Hair, Body) With Guilty but Forgivable Pleasures!!

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When I think about some basic components of “beauty” (by basic I mean the things that when assembled together regardless of features, race, or gender make a person “attractive”) I think of radiate skin, a great head of hair, and beautiful teeth, these things in concert read as “health” and “health” is attractive to us on a organic level as we are primates after all. Much like a lion’s mane or a peacock’s plumage, we as primates instinctually read these things as markers of good genes for breeding. Now, since humans are so “evolved” (and I stretch that term to the point of breakage) we have taken these basic tenants of the Darwinian sorting system of finding the healthiest/strongest/most powerful mate and made it into a commercial industry called beauty… we have sublimated the natural standard to a manufactured sometimes unreachable level, but I’m getting ahead of myself…

So, let’s for my intents and purposes codify the elements or components of beauty as:

 

Skin

Hair

Teeth

Body Form

 

I got to ruminating on this because recently I had a little dental incident. Well that is not wholly true, the original incident occurred decades ago. When I was about 11 I was somewhere doing something that I was not supposed to be doing… ok, ok a group of friends and I went to the park, but here is the thing where I grew up in Overbrook, there was a clear racial delineation, two block West from where I lived was the “White Zone”. Now the local elementary school was located in “The Zone” so the Black children who attended could enter, school hours created immunity. The local pizza place was also (clearly) in the zone—not deep in the zone- so you were safe after dark in the “neutral” 2 blocks between the black line and the Pizza joint in the “White Zone”, after all beat downs are bad for business.  So we had gone to the park in the White Zone right by the school, but we had stayed too late it was getting dark when we were walking back and just as we passed the Pizza joint (without Pizza) a group of White boys started to chase us. We ran towards the safety of *our zone but I fell and cracked my front tooth in half…

 

*Note I have since stopped running from white boys if you get my drift…

 

Needless to say my parents were pissed, and my mouth was jacked! And it stayed jacked for a number of years. It wasn’t until I was 14 that I asked my father to finally take me to get it fixed. However I recall with clarity that although it never stopped me from being expressive, smiling or laughing, I did not feel beautiful. I can’t really say if I had ever felt beautiful before the incident, as I was entering the awkward stage anyway, but I knew that at 14, I was uncomfortable with my appearance enough to ask for my smile to be repaired.  I remember I was set to perform in our spring concert and I had a solo and I just wanted to feel beautiful, completely. I wanted to take my bow and smile and not feel self-conscious. So I am very much aware of what it feels like to feel in adequate in one of these areas.

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Where bad skin, or teeth can make an onlooker uncomfortable (you might not know where to look), the person who lives with these conditions is certainly not ignorant to it. They no doubt harbor insecurities about these issues and their carriage and body language will certainly reflect it. Think about the adult woman with chronic acne who wears thick layers of make-up to “conceal” it when really it in a horrible twist of irony only highlights and often compounds the problem. What about the person with bad teeth who does not smile only grins as not to reveal their teeth in their purest moments of joy? How retraining must that be.  My brother’s wife has misaligned front teeth; they overlap. Where she is a beautiful woman, because of her self-consciousness she holds her mouth in a pinched, pursed manner, which makes her look severe. Ironically, my bother’s daughter (not by his wife) ended up having a similar dental issue. When her adult teeth were growing in instead of her front two teeth splitting the center, one tooth grew solidly in the middle. When she was about seven I saw the physical signs that her teeth were already starting to effect her self image, the pulling her mouth closed, she grinning instead of an open mouthed smile, the hand in front of her mouth when she smile fully or laugh.

images-1I think about men who start to lose their hair in their twenties, where “being” bald is acceptable, men can still be considered “hot” if you are bald, what it feels like to know that you are bald is something different. Male pattern baldness is common and as I stated previously acceptable, but what about women who’s hair starts to thin, or won’t grow… enter a double standard. images-3Where there are numerous ways to camouflage thinning hair or hair loss for women (weaves, wigs, scarves, hats) though it might be concealed the reality always lies beneath, it’s still there, and the act of “having” to cover it up may create shame, sadness, and a sense of inadequacy in many women. It’s important to note that being compromised in one or more of these components does not necessarily make people “Unattractive”, “Undesirable”, or “Unlovable”. Let’s face it there are bald, toothless, people with bad skin who have people who love them and think they are the hottest things ever, conversely there are people with perfect skin, hair and nails who have a hard time finding a partner. The point is that our self-image is not solely determined by how we are perceived by others (that is a part of it) but it is about how we feel about ourselves that defines who we are.

 

It’s not about what YOU think about me, it’s about what I think about me!

 

This series is more about bringing you options for taking care of some of the things that nag you about your appearance that are correctable.

First up TEETH with Dr. Blake I. Winokur of Manhattan Dental Studio :


If you would like to contact Dr. Winokur you can do so at: bw@manhatandentalstudio.com