A JuntMftO Summer Hebrcskcn
Susan Stephen and Tom Segal stretch muscles and warm-up to dance.
Dancers' bodies hurt;
moves are graceful .
ByLynnMongar
Taut muscles strain as a slender body
stretches headfirst toward the floor.
With deliberate movements, the young
dancers limbs move freely and fluidly to
music.
The hour warm-up excercises are a
part of Susan Stephen's and Tom Segal's
lives as professional dancers. Stephen, 23,
is the assistant choreographer for the re
cently formed Lincoln Ballet Company.
Segal, 21, formerly of Lincoln, is a
dance major at Adelphi University in
New York City. He is visiting friends and
family in Lincoln before he returns to
New York.
Stephen will be performing with other
Lincoln dancers in an afternoon dance
festival from 2 to 6 p.m. Sunday at Pine
wood Bowl in Pioneers Park. Richard
Haisma, formerly of the Murray Louis
Dance Company will also perform at the
festival, which is sponsored by Lincoln
JayCees, Women JayCees and the Pine
wood Bowl Commission.
'Dancing Painful'
"Dancing is painful if you do it right,"
Stephen said. "As a dancer you should al
ways have aches and pains." The grueling
excercises and three to eight hours of
practice six days a week extend the
body's limitations and make dancing
graceful, Stephen said.
Pushing herself is part of her attrac
tion to dancing, she said. '."It's exciting
doing something tomorrow that I could
n't do today." Although she said she likes
modern and jazz dancing, her "passion"
is ballet.
Stephen doesn't spend all of her time
in the dance studio, she also works as a
bus driver for Lincoln Public Schools.
"I work so I have money to dance,"
she explained.
She said she wears out three pairs of
ballet shoes a week, and socks and leg
warmers also often must be replaced.
Taking lessons twice a week also adds to
her expenses.
She plans to stay in an city compara
ble to Lincoln, and to continue dancing
for as long as she can. Her long-term goal,
however, is to be a choreographer,
limited Profession
"It's a limited profession," she said. "I
can't dance when I'm 40."
Segal disagreed with Stephen and said
that a dancer attains his artistic sensi
tivity in his 30s and 40s. But, he admit
ted that dancing is mainly a young per
son's profession.
"I don't think the people realize how
much strength and skill is required.
"I'll perform as long as I think I can,"
he said. "A dancer knows when to quit."
Segal began dancing at 18, and he said
his appreciation of dancing developed
gradually.
"It's infectious," he said. "When you
can dictate your body in clean and grace
ful moves. It's a magic moment." The
magic has helped Segal overcome some
cruel comments and misconceptions con
cerning male dancers.
"The established stereotype of male
dancers is that they are all flaming
queens," he said.
"But, what could be more masculine
than dancing with a woman?" he asked.
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