Advice for dancers.

Lately I can't seem to handle any more stress. I'm taking 16 classes a week in my dance program, working a night job, and getting six hours of sleep. I thought I could make it through the semester but I can barely dance. I've tried to cut back, but whenever I do I feel like a wimp.--No Way Out, Newark NJ The fact is, you are pushing your body beyond its ability to recover. Lack of sleep and overwork are the culprits, along with your inability to give yourself a break. You're not alone. Dancers often work to the point of exhaustion, believing that more is always better. Not true. Stress creates a host of problems. Short-term symptoms include excess sweating, a rapid heartbeat, and anything from loss of appetite to overeating, especially sweets. Over time, stress can also lower your immune system, making you prone to respiratory infections. Then there's the obvious fatigue, which weakens your muscles. It's no surprise that you can barely dance. To break the cycle, you need to set priorities. That includes 8 hours of sleep (10 would be even better) and a survival job that doesn't leave you wasted. Finally, countering negative thoughts would be beneficial. How about, "I'm one step closer to becoming a professional" instead of "I'm a wimp?"

I am a former ballet dancer who has returned to dance class after going to college. I need to find a nutritionist, someone who specializes in dancers, to help me lose the excess weight that I've gained during school.--Jessica, NY, NY You're smart to seek professional guidance rather than cycling through fad diets that backfire for so many dancers. While there are a zillion supposedly quick fixes out there, the answer for losing weight remains eating fewer calories than you burn. Most dancers need to eat at least 1400-1600 calories while losing weight to keep up their energy. Aim for the right balance of carbohydrates, protein, and healthy fats. The second component is aerobic exercise and weight training. To find a nutritionist with knowledge of sports, if not dance, log on to the American Dietetic Association's website (www.eatright.org) or call 800-366-1655. This resource also offers a wealth of nutritional information in the form of consumer tips, fact sheets, and a reading list.

Can you tell me how to get over chronic FHL tendonitis in my ankle? It's been bothering me for the last season. Although it hasn't kept me from performing, it worries me that it isn't going away. I use ice and baby it by avoiding steps that hurt when I can get away with it. Shouldn't that be enough?--Daniel, San Francisco, CA Have yOU been to see an orthopedist? If not, set up an appointment with a dance medicine specialist. There are many reasons why dancers develop FHL tendonitis. Usually, it comes from forcing your plie or pointe, rolling in while trying to increase your turnout, or some minor anatomical flaw. It can also pop up for no reason after an ankle sprain. Any injury that causes pain for more than three weeks is begging for proper treatment. This may include rest, physical therapy, immobilization with a boot, and, occasionally, surgery if you let it go on too long. The good news is that the surgery is quite effective. But why go through it if all you need is a proper treatment plan?

Like most dancers who do pointe work, I've had my share of bruised toenails. This past season was especially bad. The nail on my second toe turned black and fell off. Do you have any advice to keep this from happening again?--Sore Toes, Charlotte, NC Ouch! While dancing on toe does get easier once you develop calluses, no dancer avoids bruises or blisters. Two factors can contribute. One is the condition of your pointe shoe, which requires a hard tip. If it gets too soft, your feet are vulnerable. Some of the newer shoes, like Gaynor Minden, are said to last five times longer than the traditional toe shoe. However, if you prefer the old-fashioned kind, as many dancers do, then you can add a little floor shellac called Fabulon inside the shoe to harden the tips overnight. Your foot type can also have an effect. If you have a peasant or Giselle foot (which sounds more glamorous, though Giselle was a peasant), your first three toes are the same length, requiring little padding. In contrast, a Grecian foot, with its long second toe, may need a foam toe cap (I used one) plus lambs wool, paper towels, or gel pads to distribute the weight evenly. The same goes for the long big toe in an Egyptian foot, where you'll also want to even out the toes. The most difficult is the model's foot, beautifully tapered with a fifth toe that is considerably shorter than the big toe. Again, try to create as much symmetry as possible so that one toe doesn't do all the work.

SEND YOUR QUESTIONS TO: Linda Hamilton, Ph.D., 2000 Broadway, PH2C, New York, NY 10023. Order her book for $13.90 at www.DanceDistributors.com (800.33.DANCE).

Former New York City Ballet dancer Linda Hamilton, Ph.D., is a lecturer, a psychologist in private practice, and the author of Advice for Dancers (Jossey-Bass). She has been offering advice to Dance Magazine readers since 1992.