I’ve been taking a Saturday class that’s usually taught by one of two very effective teachers. It’s one of the classes for advanced students at a school that offers a pre-professional ballet track and a competitive dance track, and includes students from both tracks.
Today, our regular teacher was out sick, and the teacher who would usually cover her had a different class to run, so one of the senior students ran class for us.
The end result was quite unlike the traditional 30/30/30 ballet class I’m used to–we warmed up, then did a couple of across-the-floor exercises, and then we did jumps and turns that were largely definitely not classical, but were, in fact, a lot of fun.
Having fumbled my way into a professional career, typically I approach this Saturday class with a commitment to setting a good example both in terms of classical technique and in terms of classroom deportment. Like, in short, Serious Ballet Is Serious.
Today was different. We did jumps and turns I’ve literally never done in my life. Early on, I realized I had a choice:
- I could be vaguely annoyed that I came for a classical ballet class and was getting something else entirely.
- I could go with the flow and enjoy the class I got.
Being vaguely annoyed wasn’t going to help, so I chose option 2 … and I’m glad I did. It gave me a chance to set aside the mantle of “professional dancer” and just be a student trying new stuff and seeing how it worked.
And you know what? It was really good to be just a student (okay–a student with a killer grand battement) trying new stuff.
Because the steps we were doing often weren’t from the vocabulary of classical ballet, I didn’t waste time thinking about how to do them within the classical framework in order to try to jump-start correct execution. Instead, I just did them … including jazz turns, which are not my greatest strength, since my body typically balks at the idea of turning in parallel.
Sometimes I did the new steps well. Sometimes I did them laughably badly. Often my actual execution fell somewhere in the middle. But the whole time, I was having a blast.
In short, it was really nice to be doing something I didn’t have to be good at.
I mean, don’t get me wrong. It’s also nice to be good at things … but the pursuit of being good at things–that is, at gaining skill–can be stressful.
As an artist, there’s a real (and necessary) pressure to pursue perfection in your medium, even knowing that perfection is literally impossible to achieve. You work to honor your medium–your artform–and to develop your skill to its maximum potential.
Sometimes, that pursuit is like a meditation–our ego gets out of the way and we just do the work, correcting what needs correcting without getting hung up in judgment and attachment to outcomes.
But a lot of the time, because we’re all human, we frown and berate ourselves as we still do that turn in second wrong and as we still pull back instead of up on the pirouette en dehors and as our footwork is still too slow in the petit allegro. And then we think our legs were great in the grand allegro, but we don’t even want to think about what our hands were doing the whole time.
When we’re doing steps from a different dance idiom, it’s a lot easier to let go of all that stuff. We know we don’t know how to do it! We don’t even know what it’s supposed to look like! We can be forgiven if something doesn’t work the first time, or if our hands are doing that weird duckface thing, or if we land on the wrong leg because our bodies are convinced that this step really, really is just a weird saut de basque.
And when we’re not worried about all that stuff, suddenly it’s a lot easier to have fun.
So it can be really fun, sometimes, to step outside your primary medium. When you know that you don’t know what you’re doing, it’s a lot easier just to let go and do (hey, there’s that Beginner’s Mind thing again … hmmm).
When you try something new and different, sometimes you find you can let your hair down (metaphorically, anyway … in terms of pure practicality, when you’re dancing, it’s probably still a good idea to keep it pulled up out of your eyes so you don’t crash into the piano).
I never quite figured out one of the jumps today (I have no idea what it’s called–I should’ve asked). My body kept trying to do the saut de basque from Ali’s variation in Le Corsaire instead of … whatever the jump was actually supposed to be. I kept landing facing the wrong way and with the wrong leg in front.
And you know what? That was okay.
Nobody died! I had fun, and I found a degree of release and freedom that I haven’t felt in a while.
And because of that sense of release and freedom, there were other things I did better than I usually do them–things that you would encounter in a strictly-classical class.
There were also things I did as, erm, less-than-perfectly as I usually do, but in which I was able to figure out some of the factors that are hampering my technique. I was relaxed enough to just kind of feel my own body, without feeling the pressure to analyze my technique and try to do things well that I don’t actually know how to do well.
So this is something that, both as a dancer and as a teacher, I really need to take with me.
It’s important to hone technique and work hard. As a dancer, as an artist, that’s part of how you make progress. Sound technique gives you the tools for musicality; for expression.
But, as much as I tend to lose sight of the fact, it’s also important to relax and have fun … and sometimes, when you relax and have fun, you might even learn things that you wouldn’t otherwise learn.
Ultimately, I guess it’s a question of balance.
It’s easy to get so focused on honing your Srs Ballet Skillz that you don’t get a chance to just enjoy dancing (especially when you’re stuck dancing in your tiny basement most of the time for going on a year). But, ultimately, we dance because we love dancing.
For amateur dancers, love is the only motivation that makes sense. There are much easier and more efficient ways to get exercise, and a lot of them are much less expensive, too. There are artforms in which it’s much, much easier to find opportunities to grow and perform as an amateur artist.
Ultimately, it’s pretty much the same for professionals: you have to love dancing. Working in dance is just too freaking hard if you don’t love it more than anything else; if it’s not, in a sense, the only thing you can do.
Either way, you dance because, deep within you, something is called to dance. You dance because you need to dance; because dancing is in your blood and your bones. Because dancing is your blood and your bones.
You dance because your soul sings in movement.
Today’s class reminded me that sometimes, it’s good to just let your soul sing. And also that sometimes, while your soul is just singing to sing, you learn anyway.
I don’t repost very often (mostly because it doesn’t usually occur to me that my puny little voice might amplify anyone else’s), but every now and then I read a post that resonates very powerfully and directly, and I remember that “repost” button is there.
Bill Waldinger is a remarkable artist and a remarkable teacher—but his path to that life was rockier than it could have been. In his post, “Children Will Listen,” he reminds us that even things we overhear can leave deep and lasting impressions.
We can’t be perfect, but we can work to be kinder and more compassionate. What impressions are we leaving? What impressions do we hope to leave?
I have written many articles which include bits of my personal history in dance; my very late start at 25 years of age and a family structure that did not encourage or support a career in the arts. I have previously recounted an incident that occurred during an argument with my mother, when she said: “But you never asked for dance lessons”. And she was right. I never did. And at the time that I wrote that article, I said that the reason why I never asked for dance lessons was because I felt that hearing “No” would have been too painful. And that is true.
But there was another reason.
Our memories and our minds work in mysterious ways, and recently a memory came flooding back with a vengeance.
My sister, who is four years my junior WAS, as a small child, given dance classes. On a few occasions…
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Gentle Readers, a picture from today:
It’s a screenshot of a screenshot bc I’m too lazy at the moment to go get my phone and upload the original screenshot.
Anyway. I snagged this from a video I recorded of a class I took this afternoon.
There were a few nice moments in that video, as well as some that would’ve been nice if I wasn’t doing one or more small, incorrect things.
To my eye, this pic falls in the latter category. Or, well … Maybe it would be more fair to say that it falls in the grey area between the two categories?
So I posted it to Insta because I think it’s kind of funny—I’m clearly committed to this exercise that I’m doing, but also clearly (to my own eye) trying not to crash into the furniture (big mover + small space = potential disaster).
It turns out that maybe not everyone sees this shot the same way I do.
Here’s what I see immediately:
- Not quite on my leg (if you draw a plumb line from my hip socket, in fact, I’m quite a bit behind the ball of my foot)
- Back arm too high
- That stupid thumb again
- Neck retracted
- Supporting leg could be a bit more turned out
- My back leg might not be straight back? (The lighting makes it hard to tell. Rationally, I think it might actually be placed correctly, but my brain keeps quibbling about it anyway.)
- Same quibble about whether my hips are square (with the same caveat)
- At least my back is lifted and my leg is straight, high, and turned out?
What several other people see immediately:
- A nice arabesque.
So … As a dancer, you do have to learn to critique your own technique. If you want to master ballet vocabulary, it’s necessary.
But I think sometimes we get so caught up in criticism that we need to be shaken out of it.
Yes, it’s important to see what we’re doing wrong. But it’s just as important to see what we’re doing right.
Ballet attracts … okay, all kinds of people, really. It retains people who have an taste for focusing on details and working like crazy to overcome faults. It retains people who aren’t too proud of themselves—and maybe, too often, people who aren’t proud enough of themselves.
No, this arabesque isn’t perfect. But there’s a lot there to be proud of (not in the “I’m better than you” sense—just in the quiet way one feels when one works hard and improves on things).
A lot of work goes into getting that back leg high without compromising the placement of the hip. Same for keeping the back that high, working the gensture leg against its opposite shoulder to make a strong, turned-out position.
Yesterday, after a class in which I (still working off my two-week-long sinus-infection nap) felt hella weak, a teacher who I respect quite a lot told me she can tell I’m a very well-trained dancer.
That meant a great deal to me, as I still tend to think of myself almost entirely in terms of my faults. But I have, in fact, come a long way, even in the past year, while dancing under some very unusual conditions.
Sometimes we meet people who only see their own strengths, and it’s easy to regard them as delusional (I mean, not that we’re not all at least a little delusional! But That’s Another Post™). Like, seriously, everyone’s got faults.
But it’s just as delusional to see only faults.
We have to learn to walk in the middle and see both.
By which I mean, really, that I have to.
So I’m going to work on that.
Like: yeah, there’s some faults there, totally. That’s fine. I’m human.
But also, seriously? That is a nice arabesque.
I think I was 20 or so when I first thought to myself, “The first step in growing up is realizing that you’re still a kid” or something like that.
Even at the time, that seemed very obviously like a Step Zero kind of idea: like, not even Step One in the actual program of working on the thing, but the step that makes you realize there’s a thing to maybe work on in the first place.
- … Though, in fact, I’m not at all enamoured with the idea of growing up for its own sake, and never have been. More on that later, ! maybe?
At the time I was still rather blindly invested in the idea of myself as being mature-beyond-my-years. That was a problem because, in fact, I wasn’t so much preternaturally mature as developmentally delayed in a way that completely hoses up the cultural signals of maturity.
Like: it’s hard to get in trouble by doing stupid things with your friends when you don’t have any friends. Not getting in trouble can make it seem like you’re making good choices, when in fact you just haven’t had to make those choices in the first place.
It’s easy to follow the rules when you’re developmentally still at a stage in which you actually really like rules. This can make it seem like you’re a mature and prudent individual with clear foresight when, once again, you might not actually be equipped to make prudent decisions or be at all good at figuring out how your immediate actions might impact your long-term outcomes.
It’s easy to sound like an old soul when you basically learned how humans talk by reading books written by people who died a hundred years ago (and let’s not forget the social weirdness of growing up in the ur-nerdy, monomaniacal worlds of ballet and classical music, in which children tend to behave almost as if they come from another time, because the culture of the artform selects for a kind of old-world obedience). None of those things mean you have any idea how to have adult relationships.
When an actual 8- or 10-year old comes across that way, we assume that—appearances notwithstanding—they’re still not yet in a place, developmentally, that qualifies them to march forth into the adult world and, like, provide for themselves, navigate complex adult relationships, and … all that stuff.
When someone who’s 18 or 20 comes across that way, it’s easy to lose sight of the fact that Things Aren’t Always As They Appear. Instead, we congratulate them for their apparent maturity and are then flabbergasted when they make a disastrous hash of actually Adulting.
This can be just as true when the person in question is yourself. It can be hard to see our own deficiencies. We are, by nature, standing too close, so to speak.
Which brings me to The Obvious, Not-Obvious Thing.
I have spent a huge chunk of my life trying to prove that I could Live A Normal Life Despite My Differences/Disabilities, without understanding that simply acting as if they didn’t exist was, perhaps, not the best strategy. (Okay, full disclosure: I still do this on the regs. Long-established habits take time to change.)
As a result, I’ve basically lived a life in which I’m constantly angry at myself for the mentaphorical equivalent of failing to make it up the stairs in a wheelchair when there’s a ramp RIGHT HECKING THERE, for G-d’s sake. Or, at least, there’s an easy enough way to add one.
- Caveat: there are, of course, still many, many situations in which there is neither a literal nor a metaphorical ramp. The fact that the culture at large behaves as if people with disabilities are failures in those situations is another post entirely, and one that lots of people have written better than I might. Likewise, deciding to climb the stairs in your wheelchair because you actually want to is a totally valid pursuit.
Anyway, lately (and belatedly, given that anyone who’s spent more than two minutes around Buddhism should hecking well know better, but there I go becoming attached to a concept again—specifically one about how I should or shouldn’t learn, which seems hilariously apropos), it has begun to occur to me to forgive myself, as it were, for being what I am.
Like … I might be able, with immense effort, to change some of these things to some extent—but why do that when there are other ways to reach the same goals? And why be mad at myself when I struggle? It’s not like being mad actually helps (in this circumstance).
In other words, it has begun to occur to me that instead of continuing to ram my metaphorical wheelchair into the stairs and be angry at myself for failing to climb, I can accept the metaphorical wheelchair situation and, like, add metaphorical ramps instead. (This seems relevant to this year’s intention, “Ask for help.”)
It has begun to occur to me that instead of fighting to change some of the limitations (for lack of a better word) that my brain imposes, I can accept that they’re there and figure out how to work with them—to harness them where it’s possible and to accommodate them where it’s not.
I guess I used to assume (albeit unconsciously) that I would “grow out of” things—that one day I’d learn how to do things the “normal” way (which is difficult enough for “normal” people, come to think of it) and … that would be that, I guess?
It’s not an unreasonable hypothesis—after all, at one point, I didn’t know how to tie my shoes, and then I figured it out and now it’s automatic.
It is, however, an incomplete hypothesis, or maybe a complete one that I’ve overgeneralized. (Teaching has been helpful, I think: it’s made the idea of different people having different strengths and weaknesses real to me in a way that it wasn’t before.)
In the past, for example, whenever I figured out a way to actually get myself to sleep in an almost-normal pattern, I I would simultaneously feel pleased with myself (This is it! I’m finally doing it!) and incredibly anxious (But what if something happens and I can’t sustain it?). I would cling white-knuckled to the System I’d devised. Then I’d be terribly disappointed when, inevitably, something interrupted the System and my brain happily reverted to its night-owl default because, yooooo, chronotypes are a thing.
I felt this way despite understanding that last point (chronotypes are a thing, though they tend to wander a bit over the course of our lives and we can force ourselves, with effort and routine, to live contrarily to them).
It takes several weeks to condition myself to sleep on a different cycle than the one my brain wants, but only about two nights off-pattern to reset back to square one. This is frustrating, obviously—but it doesn’t have to feel like a disaster.
I can remind myself that stressing out about it only makes things harder, and that while more than a few nights in a row of sleep deprivation can have dangerous consequences for my mental health, I now know how to combine a handful of tools (strict sleep hygiene, medication, and sheer physical exhaustion) to make myself sleep. Ideally, I should actually apply them before sleep-deprivation-induced mania takes hold, but even if it reaches that point, I now have the safety nets in place to prevent actual disaster.
In short, I’ve learned to tell myself, “It’s going to be okay” and believe it.
And though I’ve been reading and hearing about it for years, only recently did I develop the ability to apply a measure of radical acceptance. Like, how hard can it be to say, “Ah! I’ve managed to get to sleep by 1 AM and wake up by 9 AM for three days running. That’s convenient,” without feeling like THIS IS IT! I’M FINALLY DOING IT! or freaking out when, inevitably, I don’t get to sleep until 4 AM at some point?
Really hard, apparently.
But I’m learning to both say and feel, “It was handy to be awake by 9 AM and well-rested for a few days, but it’s no big deal that it didn’t work out today.” (Admittedly, it would be harder to do that if the company weren’t on hiatus. But we are, so I might as well work on developing this skill while sleep-scheduling demands are still on easy mode.)
I can also be fine with understanding, for example, that I’m not good at the kind of abstract planning that Adulting requires, or at managing money (or literally anything else) unless I keep things very simple, or at making phone calls (I joke about this all the time, but I also spend a lot of time being annoyed with myself about it). And being fine with understanding those things could help a lot.
Like, it turns out that when you stop being mad at yourself, it actually really is easier to start looking for ways to approach problems and get stuff done, just like everybody has been saying since forever.
So, basically, my current hypothesis is this:
Why not accept that what I am and where I am right now and begin working on building ramps so I can live without constantly feeling like I’m fighting an uphill battle?
I’ve also only just kind of realized that “accepting what I am right now” is different than “clinging to an idea of What I Am.” The first option leaves room for change and, frankly, for just being wrong. I might not actually understand all that well “what I am right now,” but if I accept that I can try different strategies until I find one that works, then it doesn’t really matter that much anyway.
If I can fail without getting angry at myself—that is, without judging myself—it’s not actually that hard to try again, or try something else, or to allow myself to rest before trying something else, or, you know, whatever.
And maybe I can even learn that it’s okay to fail. We can’t all be great at everything, and the world would be boring (and I wouldn’t have a job as a dancer, probably) if we were.
I started to write a year-end post, then got involved with doing a bunch of housework and never got around to finishing it–so, instead, here’s a year-beginning post.
It’s going to be short because it’s almost 11 PM and I’m tired. I have too many thoughts about 2020 to hash out in a single post, anyway.
Instead, this post serves basically one purpose: setting an intention.
I’m not a maker of “resolutions”–but last year I set an intention: Don’t Overcommit.
Curiously, although I still managed, at times, to pack more onto my plate than I perhaps ought to have done, I did pack much less onto my plate than I otherwise might have even in the midst of a global pandemic.
It wasn’t magic–it was just a kind of mindfulness thing. An opportunity would come up, and I’d remember this intention to not overcommit, and it made me pause for a second instead of diving headlong into absolutely every single thing like I usually do.
So that was really useful, and I’m glad I did it.
Anyway. Last year’s intention was influenced by the growing knowledge that I needed to stop stacking my calendar the way I had been, and I think that’s part of what made it actually work–it was addressing something that had already begun to surface in my consciousness.
Moreover, it was both concrete and actionable. Or … inactionable?
IDK. It’s weird when the goal you’ve set is to NOT do a thing.
So, basically, that intention became a way of giving myself permission to say, “No,” or at least, “Not this time.” I wasn’t sure I’d actually do it, but I did. Not perfectly, but that’s fine. It’s a learning process.
Anyway. I think last year I hit on a halfway decent formula for a useful intention: concrete, actionable, and already percolating.
So this year’s intention, which will also be a challenge for me, is simple: Ask for help and/or coaching.
One of the best lessons I learned while working on this year’s second Nutcracker is that there are a lot of people who like the idea of helping me become a better dancer, and are very willing to step up and work with me. I just have to ask.
I’m beyond grateful for that community, and also beyond grateful for the weird experience of trying to learn an apparently rather-complex pas de deux in the middle of a global pandemic, because it was the thing that finally made me brave enough to say, “Hey, we could use some coaching, would you be willing?”
I have some specific ballet skills things I want to polish up this year, and I feel much less afraid now to seek out help in reaching those goals.
So that’s my simple intention for this year.
Ask for help.
Just like it’s okay to say no to things, it’s okay to say, “Hey, I’m struggling with this thing, can we find a time to get together and look at it and work on it?”
Obviously, I plan to continue working on the whole Don’t Overcommit thing also, because that makes a huge difference in my life.
So that’s it for now. One fresh intention for a fresh year. Here’s hoping 2021 will bring better things than 2020 (I mean, not to tempt fate, but that wouldn’t really be too difficult in many areas, so even if we set the bar pretty low…).
CW: brief mention of suicide, albeit in a completely absurd context. Oh, and also body horror, oddly enough?
This dream is rated [ WTF ]: inappropriate for all audiences due to making no sense whatsoever and leaving EVERYONE hanging.
I give up on trying to understand my dreams.
I just had one that segued from wish-fulfillment-but-also-stress to SPOOKY AF. I started messaging a friend about it, as you do, but the message slowly turned into a really-quite-long review of the dream in question.
So, of course, I decided to post it here. As one does.
Gentle readers, I give you … Erm. Well.
Whatever you want to call this mess.
Dream Cinema: It Gets Weird
So, in this dream, I’m on my way to participate in a Muay Thai competition—never mind that I haven’t set foot in a MT gym in AGES—but on the morning of the same I have to film something with Louisville Ballet—never mind that I dance with Lexington Ballet.
At least the LouBallet bit makes some measure of sense, since I take class at LouBallet School on breaks, just finished a masterclass there, and have been offered the occasional character part that I can never take bc it invariably coincides with something LexBallet is doing *le sigh*.
For some reason, I’m staying with a huge swath of my family (Mom, Step-Dad, Sis, Denis, Momma Fluffy (my MIL), both Bros-in-Law and the wife and kids of Younger Bro-In-Law) at a … hotel? Campground? Both?
I’m still not sure, bc dreams be like “Why not randomly shift gears from hotel to campground in midstream, but also make it the weirdest campground ever and only vaguely imply that it even *is* a campground? #YOLO”
It’s also unclear whether they’ve all come along to specifically to watch me probably get my butt kicked or whether we’re just all taking some kind of giant and very strange family road-trip 🤷♂️
Anyway, I’m supposed to be doing a kind of subsidiary road trip to the Muay Thai thing with BR and ATK from LouBallet and my friend EMM from LouBallet school after we get done filming ballet stuff, but while I’m packing up I A] can’t find my dance belt and B] can’t remember the phrase “dance belt,” so I can’t really ask for help either?
The fam heads out so they can get good seats, etc, for the MT thing, and the rest of us stay behind to sort out the dance belt situation.
So we’re shooting the breeze and hunting for the mysterious Essential Thing, which I finally find. While I’m changing, the hotel-cum-campground transforms into BR’s house (specifically, his kitchen), which I have definitely never seen IRL, bc I barely know the guy. This, of course, doesn’t phase me in the least, because dreams 🤷♂️
I notice it’s starting to get dark, recheck my schedule, and realize that I’ve basically missed the entire competition. EMM has to go home but BR and ATK decide to accompany me to wherever the MT thing is anyway (I have this vague post-dream sense that it was in, like, Paducah?) so we can all … hang out with my family, I guess?
We’re walking out to the cars and deciding whether we should all ride with ATK (whose argument was the she has the best music, which is probably true bc she’s awesome) when my Mom calls to ask if we were okay and (I think?) we decide to wait for my family at BR’s place.
(Sidebar: this conversation includes my Mom being like, “Wow, I didn’t know you were into anything that violent! But it looks like fun!” Which I can 100% see her saying irl, no joke 🤣)
So we head back into the kitchen and we’re making snacks in the form of a charcuterie board and talking about BW (blast from the past!) when bit by bit the dream shifts gears.
Like: I kid you not, the charcuterie board turns into a dead guy being prepared for a funeral ON THE KITCHEN ISLAND (WTF, DREAM 😶).
The dream has somehow yeeted ATK right out, but for a minute BR plays the role of the sensitive and thoughtful mortician preparing the body. I’m there for a sec, and then I’m not there and have never been there (dreams 🤷♂️).
Then BR, aka The Mortician, is and has always been played by a tall, thin white guy, bc apparently my brain thinks morticians be pale, or something? #TvTropes
And then the dead guy’s distraught but also overweening Mom (played by Kelly’s Mom, Diane, who IRL is only about as crazy as everyone, and not as out there as Dream Mom) is somehow there (in the logic of the dream, she’s been there all along? Bc dreams be like, “I’m a dream; I don’t HAFTA make sense! #YOLO”).
Dream Mom is weepily trying to ensure that her baby boy will look as pure as the driven snow, which apparently means coating his entire person in literally clown-white foundation?
(I mean: C’mon, Dream Cinema, even in my sleep I can spot a blunt and clunky visual metaphor: like, okay, according to his mom, duder was a saint, or at least a harmless innocent, or we’re painting over the sins she fears he may have committed, or whatever, and this is how she’s trying to express it. Which seems vaguely racist. MOVING ON.)
By this point, btw, my dream-consciousness is alternating between camera/audience and being inside the head of the mortician. Occasionally both at once, bc dreams, amirite?
Anyway! At one point, the mortician turns away to look for a brush of some kind, thinking to himself that although Dream Mom is deeply distraught, he should maybe give her a bit more guidance, bvshe’s making decisions that she might later regret (qv: Literally. Clown-white. Foundation. 🤡☠️👻).
Dream Camera zooms in to show Mortician’s hand gently patting the hand of the dead guy and possibly? smudging some kind of charcoal powder into the creases of Dead Guy’s knuckles (by mistake, obvs).
The dream audience perspective goes, “Mom’s gonna be pissed if she sees that” and then “That’s not good” and then “Oh, shizzle, this is some kind of foreshadowing, isn’t it?” and then “WHAT IF THE GRIME IS RISING UP FROM THE DEAD GUY’S SKIN?! 😬”
Cut to Dream Mom and the Mortician still not noticing.
Cut back to the hand, which definitely looks grimier than before, doesn’t it? Or does it? Dream Audience can’t be sure.
The fingers twitch.
T w I T cH 😮
Dream Audience A] wonders if the Mom saw it and B] announces that it could just be leftover nerve impulses (WHICH: um, no).
Dream camera zooms back out to show that neither Mom or the Mortician saw the fingers twitch.
Mom is weepily thanking the Mortician for taking such good care of her baby boy (who was, btw, probably in his 20s or 30s? Just for clarity. And probably also a dancer, unless I’ve just been thoroughly enough immersed in a mileu comprised entirely of dancers to default to all semi-naked men in dreams being built like dancers). Mortician glances back, notices the black smudges, and turns back to wash his hands and find even more white foundation.
Cue growing sense of dread, though it’s not clear yet whether we should be afraid OF the dead guy or FOR the dead guy.
Dream Camera literally flashes back to the bit where they removed the organs to weigh them during the autopsy; likewise, as we return to the dream-present, my brain retcons in a gigantic autopsy incision (I literally remember being like, “That wasn’t there before … Was it?”), closed but very clearly evident. (Implied: what if he was somehow AWAKE during the autopsy???!!!111)
Dream Audience wonders whether they simply didn’t notice it before, or??? Dream Audience be gullible. (I literally remember being like, “Wait, that wasn’t there before … Or was it?
Mortician slathers more clown-white on Dead Guy’s hand, then does the other one for good measure. Dream Camera cuts to a wider shot of Dead Guy, clown-white and terribly still. Mortician is just in the edge of the shot, turning away.
Dream Camera pulls back a little further as Mortician busies himself at the counter behind him, seeking another brush or something again.
Mom-of-Dead Guy continues to talk to Mortician about how she knows her baby boy would never commit suicide but doesn’t understand why someone would want to hurt him (not sure how that came up, bc I don’t remember there being any sense of either having been a Probable Cause before? Pretty sure Dead Guy had originally drowned, and entirely by accident. DREAMS. UGH. 🤷♂️).
Cut to a wider shot of the room, which is still clearly a kitchen, but for some reason the Mortician is doing this job privately as he sometimes does (you just know things like that in dreams … bc D R E A M S 🤷♂️🤷♂️🤷♂️). Both Mom and Mortician are still facing away from Dead Guy, talking.
Dead Guy kind of shudders and gives a kind of strangled moan 😰
Mom looks up anxiously; Mortician is also spooked but explains rather gallantly that sometimes trapped air can escape from the lungs and cause a moaning sound.
Dream Camera, and thus Dream Audience, knows the Mortician doesn’t quite believe what he’s saying, at least not in this case, because the lungs aren’t even connected anymore. Heck, they might not even be IN THERE anymore.
Conversation between Mom and Mortician stumbles back up to tempo.
A moment passes.
UP 😱😱😱 with a pained wail and vomits blood and … embalming fluid??? 😱😱😱😱😱😱😱
(Pedantic Dream Audience wonders how this is possible, given that there shouldn’t be any blood or possibly even organs left in there.Note that Pedantic Dream Audience is unconcerned with the plausibility of a DAD GUY SITTING UP UNDER HIS OWN POWER IN THE FIRST PLACE. Ffs.
Another part of Dream Audience is like, “Yoooooooo, Mortician is never cooking in that kitchen again.” SHUT UP, DREAM AUDIENCE.)
Also, for some reason, DEAD GUY IS NOW WEARING GLASSES.
DEAD GUY DOES NOT NEED GLASSES ANYMORE.
Besides, he wasn’t wearing them a minute ago.
(Pedantic Dream Audience notes that they’re a plot device intended to make Dead Guy more sympathetic—which, to be fair, they somehow do. He’s like a taller, hot, and [admittedly] very dead Rick Moranis, somehow? But Awake Me is also pretty sure they’re a direct callback to Dead Glasses Guy in Bly Manor.)
Mom and Mortician turn to look just as Hot, Dead Rick Moranis collapses into an effortless forward fold (obviously, my brain believes that all hamstrings, even dead ones, are dancer hamstrings).
Feeling of dread solidifies in the direction of fear FOR Dead Guy (OMG! CAN HE FEEL WHAT’S HAPPENING TO HIM? IF HE’S STILL ALIVE IS IT TOO LATE TO SAVE HIM??!! I mean it doesn’t make any physiological sense but CLEARLY PHYSIOLOGY NO LONGER MATTERS, HERE 😱) … but with the knowledge that Mom and Mortician are simultaneously afraid FOR and OF Dead Guy.
They both reach out to him; Mortician is trying to think of a way to explain this to Mom that will sound plausibly non-supernatural even though he now realizes beyond the shadow of a doubt that S**T JUST GOT REAL, YO.
They both grab hold of Dead Guy ANNNND
I EFFING WAKE UP.
WTF, dreams?!!!!! DEAD GUY CLEARLY HAS UNFINISHED BUSINESS. Or at any rate SOMEBODY does.
This is SO NOT FAIR to ANY OF US.
TL;DR: 3/10, compelling story but utterly absurd plot development and questionable continuity with a TERRIBLE CLIFFHANGER ENDING.
WHAT HAPPENS TO DEAD GUY?! WHAT INCREDIBLY IMPORTANT THING DOES HE HAVE TO SAY?
Or has he just, somehow, really been Only Mostly Dead the whole time?
The world may never know.
And I WANT MY MONEY BACK, Dream Cinema.
- It’s entirely possible that this was the fault of D’s phone ringing and not of Dream Cinema. But you know what? When the broadcast gets interrupted during a Live In HD performance, we’re always given the option of a refund or a comp ticket for another Live in HD show. Just saying.
Both of this season’s Nutcrackers are now behind me.
I’ve seen Lexington Ballet’s rather impressive video (link: Lexington Ballet: Nutcracker Reimagined), though FSB’s doesn’t come out ’til the 24th.
Concerns about the out-of-control COVID-19 infection rate scuttled FSB’s live performance (I was fine with that—Nutcracker is fun, but nobody needs to catch COVID-19 over it) and forced some last-minute cast chances, so we didn’t get to do the full Grand Pas after all.
I missed my OG Sugarplum, who is a delightful partner, but she’s at very high risk for COVID complications. I would rather that she remain healthy and whole so we can dance another day.
My Cavalier variation felt … less than great? But perhaps not terrible.
Or, rather, I was deeply disappointed, but everyone else seemed to like it.
I blended a couple of versions to suit the tiny stage, and for some reason during the actual recording my legs seemed iffy about the concept of brisée-volée. It worked fine the rest of the time -.-
I’m not satisfied with that on the grounds that, by definition, as a professional dancer, your worst day still has to be good enough for the people who’ve paid to watch you dance.
This wasn’t my finest hour, though it could’ve been worse. I’m hoping that I did a sufficiently convincing job faking it through the rough spots.
And then, a year ago, I couldn’t even really do brisèe-volée.
My friend Dot understudied Sugarplum, so we threw together a Coda literally at the last minute. It was fun, and I didn’t actually run into any scenery doing the tiniest tombé-coupé-jeté manège in the history of the world (though I got carried away and *almost* did).
In Nutcracker Prince territory, things were a little smoother because I’d somehow managed to have more actual rehearsal. (Y’all, I cannot really explain how I managed to get so little studio time for my variation. But there we have it. Rehearse it til you can’t get it wrong, or you WILL get it wrong.)
Battle Scene was the best-rehearsed part of the whole ballet (I mean, not counting the Grand Pas with my OG Sugarplum), and it was both fun and probably not too shabby. I guess I’ll find out soon enough.
It had a ton of sword-fighting:
I choreographed most of a rather nice Snow Pas on our Clara and myself, though scheduling conflicts meant we wound up kind of semi ad-libbing the last 45 seconds or so 😅 Next year we’ll have existing choreography to work from (assuming I’m still in Kentucky next year).
This rather nice little jump was also in there somewhere:
Anyway, as my first guest performance with two principal rôles in a full(ish)-length ballet, it was … Reasonable?
I guess I won’t really know until I actually see the video.
I don’t usually write about aerials technique because the potential for disaster is way too high, but today I’m making an exception to address one minor but useful point.
I’m writing this from the perspective of someone who more or less specializes in bar apparatus, but it can be translated to vertical apparatus (fabric, rope, pole, etc) with a little thought. It’s useful no matter what kind of junk you’ve got in your drawers, but particularly helpful for people with dangly bits.
At the studio where I train, there’s a segment of the human anatomy we like to call the “No-Fly Zone.” It’s the zone you really, really don’t want to land on, or roll over, or otherwise crush, spindle, or mangle. I think you get the picture.
Anyway! That said, a lot of moves all but invite you to do exactly that—vine climb, almost anything you do in horse, arabesque on the bar, etc.
If you’re like most aerialists, you’ll Land in your No-Fly Zone maybe once or twice, and then your body will figure out ways to avoid it.
That said, the ways our bodies work out aren’t always as efficient as they could be—hence this post.
So here we go!
Here’s a sequence of stills from a video I took on class this morning. The sequence is simply a transfer on the bar from a hooked knee on one side to a hooked knee on the other side.
In the photo above, I’ve just straddled up to the bar and hooked a knee. Because I began with my grip a bit low. This lyra hangs fairly high, and I was tired so I didn’t take a higher grip that would require a bigger pull-up. As a result, I’m bringing my hands up higher on the apparatus to give myself room later on.
Depending on what you’re doing, that step may or may not be necessary, but it’s something to keep in mind.
Here, I’m beginning the process of rolling myself over the bar by pressing my top leg as I straighten it. At the same time, I’m using my arms to give myself a bit of lift.
It probably looks like I’m about to land right on my No-Fly Zone—but I’m not.
Above (although I apparently grabbed the screenshot from the other side … oh well), you can see what prevents me from crashing in the No-Fly Zone: squeezing the extended legs together as if I’m doing an assemblé.
This allows me to control how high the bar can travel on my legs. At this point, my arms aren’t really taking much weight at all—they’re just helping to steer.
Here, you can see how much control I have over where the bar goes. I’m squeezing my thighs together and using a moving very much like a soutenu to push it around relative to my body.
One quick note: this is easier to do on lyra than trapeze—on trap, you also have to manage rope tension relative to your movement. Same goes for rope, hammock, fabric, and sling: you can transfer this basic idea, but the mechanics are a bit trickier.
In this last shot, I’m transferring the bottom bar into the pocket of the opposite hip as I bring my head under the top bar. My No-Fly Zone is safely out of the way.
In short, what allows me to avoid a crash is pressing through a fully-engaged leg, then squeezing both legs (again, fully-engaged) as I pass over the bar.
For someone like me—someone whose pelvis is put together so there’s never going to be a thigh gap, but also a ballet dancer for whom this movement is inherently familiar—this is pretty easy to do.
- Seriously, even at my most underweight, 84 pounds at 5’4” when I was 13, there was no gap. My pelvis isn’t built that way.
For bow-legged aerialists (like D) and those with wider-set hip joints, it’s imperative to really cross the legs from the top of the thighs and squeeeeeeze.
This is one of many places where ballet training can be so useful for aerialists. The degree of overcross and engagement is almost identical to sus-sous, or to a strong assemblé.
In either case, the movement that you’ll use to pass over the bar without crash-landing is still very much like a soutenu turn. You’re squeezing the thighs as you rotate your hips.
In ballet, this turns your body; on lyra, it turns the hoop (on trap and other apparatus, the action varies, but the principle is the same).
Even if you’ve never taken a ballet class, if you’ve ever tried to hold something (a box, a bag, a curious dog that wants to run off and check out the neighbors’ dog) between your thighs while turning around to grab your phone, you’ve probably done this exact sequence on the ground.
You probably don’t want to squeeze your dog as hard as you’d squeeze the lyra, but the principle is the same.
One more note: take it as read that, sooner or later, you’re probably going to crash in your No-Fly Zone. Don’t take it as a sign of failure—it’s just how we learn. For many aerialists, it’s something that happens as we begin to feel more confident and to take risks.
And you’ll probably only do it once, maybe twice. Consider it a rite of passage in your #CircusLife. Trust me, we’ve all done that walk of shame.
I have no qualms about stating up front that my partnering skills are, well, roughly at the level that would, if this was a university class, require one of those 094-level classes (I can see it now: “Partnering 099: It’s Always The Boy’s Fault”).
I’m good enough at this point that I wouldn’t have to take “Partnering 088: Whatever You Do, Don’t Drop Her!” … but I’m definitely still rough around the edges.
Anyway, in the interest of offering some help to my fellow Remedial Partner…ers, here are some strategies that do and don’t work:
- stand too close
- stand too far away
- get nervous and slowly collapse closer and closer, drawing your partner into your collapse like the heavier star in a binary system, leading to a cataclysmic supernova
- panic about every single turn, every single time
- panic about any turn, ever, for that matter
- trust me panicking really doesn’t help
- go walkabout mid-promenade because your eyes are pointing the wrong way (I know this is groundbreaking info but amazingly a promenade should be a circle, not a square)
- fail to communicate … partnering is basically sustained communication, ideally with fewer words but, you know, better to speak than to do something dumb
- panic about penchés
- panic about steps you were doing fine yesterday
- fall into weight-sharing mode … weight-sharing is great, but it doesn’t work for a lot of ballet things
- panic about … anything, really
- REMAIN CALM
- feel out a good distance for various steps
- learn how to be there on time
- let your partner do her end of things
- talk through your dances together
- mark through your dances together
- walk through your dances together
- run all the things until you can’t get it wrong
- but make sure to stop before you both get super tired
- REMAIN CALM srsly it’s better to be Prince Valium than Prince Panic
- be willing to swap a step out for something simpler if you’re on a deadline and you’re having a rough time—it’ll build confidence, and eventually you’ll get the harder step, but that way you’ll know you’ve got something you can take to the stage
- COMMUNICATE! today we both kept going, “Okay that felt weird” from time to time, and discovered that what felt weird to one felt weird to the other (we’re also getting better at sorting out the why)
- ask for help … we’ve been super lucky to have not one, but two very experienced coaches step in to help because they want to see us succeed. Asking for help is scary, but it’s such a good idea.
- believe that you can do it … like horses, ballerinas can sense fear 😅
- and, of course, REMAIN CALM
That’s it for today. I have still neglected to take any photos, so I’m sticking in a screenshot for the featured image 😅