Monthly Archives: January 2015

Ballet Squid Chronicles: Chain, Chain, Chain — Chain of Chainee-nees!

OMG you guys!   I did chaînes* and they didn’t suck!  Some were even pretty!  I even finished them with a lovely tomblie thingy and everything!

Woohoo!

Opera today, so we did Essentials.  Class was really, really good.   I am more or less back up to speed on the basic basics.  

Margie threw in some balances a la seconde, and those went very well for me.  I got to releve without difficulty and stayed up.  That was awesome.

General corrections were mostly about keeping it all pulled together, which is awesome, because that’s what I’m working on at a sort of overall level.

I was able to carry over Monday’s correction to my fourth position, so that was cool, too.   Amazingly, I didn’t hose anything up.   It’s nice to be able to work on perfecting things for once 😀

I’m kind of bummed about missing noon class today because Brian is teaching.  Oh well.   This opera is supposed to be really, really good, though.

So there you go.   That’s it for today!

Notes
*For some reason, these have been the bane of my existence for quite a while.  Like, my ENTIRE LIFE.

Ballet Squid Chronicles: Brief Thoughts on Paul Taylor Dance Company

Tonight we caught a performance of PTDC’s 60th Anniversary tour.

Really amazing stuff — Taylor’s choreography is the work of someone clearly literate in the language of classical ballet, but able to leap beyond its boundaries and forge a kind of syncretic modern dance vocabulary suffuse with free and playful movement.

It reminded me of our Introductory Intensive with the amazing Linnie Diehl at the ADTA conference this year.   We talked about Laban movement analysis, and about the qualities of movement — about how some people (and dance forms) are very formal and bound (hello, ballet!), while others are fluid and free.  We also talked about how sometimes dance forms or people encompass more than one style of movement.

Paul Taylor’s choreography captures that principle: it can work within the formal vocabulary and syntax of ballet at one moment and discard it the next.

I’d love to reach a point in my own life — as a dancer, but also as a person – at which I can do that.   The language of ballet works for me because I am, by nature, rather formal and bound.   My best days in class, though, are the days when I’m the most free; my best moments in general happen when I manage to let go of the concept of doing things correctly and precisely and instead I just do them. This is part of why I love clubbing: I get to be free, to be moved by the music, to toss the rules out the window (don’t get me wrong — I actuality love the rules of ballet; they are the restrictions that perfect the art).

I want more of that in my life.   I want to incorporate a little of Paul Taylor’s freedom into my own work as a dancer.

I think the next time I’m in New York (whenever that is…) I’m going to drop in on their daily class.   I may be a ballet boy at heart, but I suspect there’s a lot I can learn from these modern dance mavens.

As for you guys out there in Internetlandia — if you get a chance to see Paul Taylor live, snap it up.   And if you get a chance to dance with them (which is how I learned of their existence — they came to our class a while back), snap that up too.

Ballet Squid Chronicles: Dances with Moobs

I am not the world’s most patient person*.

*Wow! Shocking, IKR?

I doubt I would have been regardless (hello, hyperactivity and short attention span), but the circumstances of my upbringing and much of my life since have taught me that I need to pursue what I want immediately and relentlessly.

The result?

Waiting really freaks me out.

I mean, not short-term waiting. Like, once the appointments are made or the tickets are purchased or whatever, I’m fairly cool. Maybe not as cool as a typical person would be, but cool for me. Like, I can shut the hell up about it and think about other things. Likewise, I’m not terrible at waiting for minor things, or acquisitions of tangible goods (I keep my stuff in the future; that way, I feel like I already have it, and I can relax and save my money to purchase things — and, often, by the time I have enough money to make a material purchase, I’ve decided I don’t really want it anyway).

It’s major, important stuff and skills-acquisition that seem terrifyingly subject to immediacy.

So right now I’m in a spot where waiting for one Big Thing is making me wait for another Big Thing.

I decided last year that I really, finally need to get off my butt and get the surgical correction going on for my gynecomastia. Because, seriously, there are a few ladies in my ballet classes with smaller boobs than mine, and part of me is like, “Yeah, but … you know, ballet, there are lots of girls in ballet with no boobs, so you really shouldn’t freak out so much” while the rest of me is like OMGWTFBBQ 100%

.__.

First: that wasn’t the raison d’etre for my decision. Just a keen reminder; a kind of sand-in-the-underpants thing.

Second: Mine are not, you know, the most epic knockers in the room by a longshot, but it’s still awkward, and I still go to class in a gynecomastia vest — which is not, you know, super uncomfy, but seriously, I fantasize about the day I can dance unencumbered by said vest. I still feel awkward, and it still sucks (BTW, this is one of the reasons I’m still wary of getting back on meds: in short, THANKS, RISPERDAL >.<). It's also one more thing to wash at the end of the day, even though I have two vests (I had four, but I'm too slim for two of them now, which means they do nothing, and I'm holding out against buying any more).

Worse, while I actually think hands-on corrections are essential to teaching ballet technique, there is definitely a part of me that freaks out in giant letters every single time my teachers' hands get anywhere near my chest … Or, for that matter, near the little bits of "fluff" that squelch out of the arm-holes of my gynecomastia vest, which somehow manages to be too big in the chest and too small in the shoulders, FFS.

I am seriously thinking about ordering a bigger vest and tailoring the crap out of it, just for ballet, so it will fit my broad-shoulders-and-tapered-torso shape. Only thinking because, let’s face it — I’m not that organized, and while I can do basic sewing-y repairs, I really don’t sew that well.

I found this all more survivable when I wasn’t dancing for a while, and my biggest concern was whether or not I could get away with wearing a t-shirt on the rare occasion that I got a chance to swim. Sure, I would actually swim a heck of a lot more if I could wear just a rash guard or whatever; there are a lot of pools that won’t let you swim with a full-on T-shirt, and your typical rash guard, when wet, turns into a giant billboard proclaiming, “ASK ME ABOUT MY GYNECOMASTIA VEST!” Which, you know, I DO NOT WANT.

But beyond that, before I started dancing again, I didn’t really have to worry about it (bizarrely, it’s never really been a big deal on the bike, even though cycling also involves skin-tight clothes).

It didn’t even freak me out as much when I was doing modern dance in high school — but ballet is probably the most deeply gendered of theatrical dance forms, and as gung-ho as I am about living My Big Queer Androgynous Life much of the rest of the time, in the studio I am just another dude who is supposed to learn mens’ technique and maybe someday do pas-de-deux without dropping anyone.

I would like to not find myself wondering, mid-pirouette, whether my vest is showing. I would like to not find myself constantly and surreptitiously adjusting the blasted thing because it does weird things during barre or adagio. I would like to not watch myself in the mirror while we’re doing little jumps and wonder whether that’s my boobs jiggling or just my shirt. Heck, I’d like to feel as if I can wear a fitted tank top when it’s hot in the studio. That would be really nice. Or a white t-shirt EVER.

Predictably, my health insurance company (which is otherwise pretty great) doesn’t want to cover what they reasonably consider a cosmetic procedure.

No amount of whining, “BUT BALLET, GUYS! COME OOOOOOOOON!” will convince them: clearly, my insurance company is not staffed entirely by compulsive dancers.

Their position is basically:

“Millions of dudes for hundreds of thousands of years have lived full (and also presumably firm, round** :V) lives with gynecomastia throughout human history, and surgery is expensive, risky, and can involve complications.”

**If you can’t laugh at yourself, laugh at other people like you, I guess?

I get it, I really do: this is my choice.

And in fact, while he is demonstrably a leg man (quick aside: Thank Heaven I’m a dancer/cyclist!), it’s a choice even Denis feels weird about: on one hand, he wants me to be happy living in my own skin; on the other hand, he’s simultaneously pissed off that we live in a world where the margins for what’s okay for a given gender are so narrow that I feel like I have to go under the knife and worried that Something Bad Could Happen Because Anaesthesia Is Terrifying.

So at the end of the day it’s my choice, and one we’re paying for out of pocket (Denis is not so stubbornly against the concept as to not be willing to pay for my surgery, which is very sweet of him), so that means waiting until we have saved enough money to feel like we can spend almost $8K on a thing***.

***Yes, part of me just looked at that figure and went, “Holy pas-de-deux, Batman, that’s nearly FOUR THREE (okay, y’all, I really can’t math) YEARS of ballet tuition if I do five classes per week!”)

…All of which means, since our finances have been a little more restricted of late due to some of the vagaries of getting paid when you work in private practice, that I am saving my pennies and waiting.

Which also means that I am taking fewer ballet classes right now**** so I can take more ballet classes with fewer gynecomastia vests later. Which means that there’s a part of my brain that is convinced that I’M FALLING BEHIND!!!

EVERY MINUTE, EVERY SECOND, EVERY HOUR OF THE DAY! FALLING BEHIND!

NOOOOOOOOO!

****Yes, this is a very recent decision; and by “decision” I mean, when I told Denis I was going to class on Monday evening, he said, “We need to keep it down to ten classes per month for now.” I made great pains to not throw a fit like the spoiled kindergartner that I am on the inside, and I mostly succeeded.

(Yes, on one level, I’m totally making fun of my own internal histrionics, here. On another level, though, this is exactly how I feel. Exactly. Especially since I managed to make it to class basically twice over winter break, and I am well and keenly aware of how much progress I lost, and that two classes per week with an extra two per month is just barely enough to keep moving forward at a respectable pace.)

Part of me is convinced — since I’m not good at waiting, and we’ve had a couple of small crises in the past two years that have resulted in the surgery being put off — that waiting means This Is Never Going to Happen (for that reason, I’m planning to put down my deposit ASAP, once I finally decide which surgeon I’m using). Part of me is aware that we’ve run into a deadline: I need to get this done, for sanity’s sake, before I go off to graduate school. I really want to get it done this summer, before Burning Man, so I’ll be fully healed and recovered throughout fall and winter and can go be awesome at Sun King next summer.

Part of me is really ticked off that my “four to five classes per week” plan has to stay on hold until the end of the semester (when, presumably, I can contribute a little more to the household income stream and thus pay for my extra classes without endangering the growth of the pool of funds being saved for surgery).

Part of me is aware that this is First World Problems All Over the Place.

Part of me keeps saying, “Okay, but it’s only ’til May.

Part of me admits I have absolutely no idea what kind of gainful work I’m going to find that will allow for our travel plans (because Burning Man choreography project!).

Part of me just thinks that this is really all too much to think about in the first place.

So there you have it. Possibly the most stream-of-consciousness post I’ve ever composed: Dances with Moobs.

FWIW, this post has reminded me that I intend to write more about the interesting nexus of gender and ballet, because it’s something I think about fairly frequently and it’s also something that Denis and I chat about over dinner on a regular basis (and, of course, anything we chat about must inherently be so fascinating that the whole world needs to read about it).

Bipolar as Unexpected Gift

I’ll begin, here, with a caveat: bipolar disorder is hard, makes life harder, and really sucks a lot of the time — but sometimes that makes the ways in which it’s a gift all the more startling and meaningful (at least, it does for me).

As such, take all of this with however many grains of salt your own experience requires at this time. Just because I feel like I’ve discovered a secret bonus doesn’t mean that’s everyone’s experience, or that everyone needs to feel the same way. To borrow an aphorism from the kink community, “Your Bipolar Is Not My Bipolar, And That’s Okay.”

~~~~

It has become somewhat de rigeur to talk about bipolar disorder as, perhaps appropriately, both a curse and a blessing.

With it come harrowing depressions and dizzying (sometimes terrifying) manias, instability that can wreck careers and lives, a powerful predisposition to addiction, the very real possibility of significant cognitive decline, and a staggeringly high rate of suicide and attempted suicide.

With it come also blindingly brilliant creativity, periods of super-human productivity, and minds that work rather different from the norm, which in turn sometimes bear stunning and unexpected insight.

It has become the done thing to acknowledge that latter set of realities, though too often only to dismiss them: Yes, you have these gifts, but holy cow, look at these costs. What are we gonna do about these costs? This isn’t to say that defraying the costs (metaphorical costs, here, not the actual costs in actual money) of bipolar disorder isn’t immensely important — it is.

Yet, too often, it’s done without any consideration for the losses incurred; the surrender of the holy fire in exchange for a more-stable life.

Too often, those of us with bipolar are expected only to embrace damage-control, and never to mourn the loss of the gifts of sacred fire.

That, however, is a post for another time (albeit an important one).

I’m not writing about those gifts today.

Instead, I’m writing about the unforeseen gift of mental illness itself.

~~~~

I grew up in a family that was both very privileged and very gifted. My sister and I were both subject to high expectations — very high expectations. We both attended selective prep schools; we were both ear-marked early on as future alumni of elite colleges or universities. We were, it appeared, destined for “success.”

We were the kind of kids who would most likely have been subject to enormous pressures related to the pursuit of that narrow definition of success — except, in both our cases, everything went off the rails, fast.

For my part, I struggled from early grade school with hyperactivity, executive function deficits (if you think I’m bad at planning now…), serious social difficulties, and what were probably the symptoms of early-onset bipolar disorder (labile moods, fits of intense and uncontrollable rage that came and passed like summer squalls, and the same bouts of wild creativity that characterize my life today, among others). Nonetheless, I was early identified as a kid with a very high IQ and strong academic and creative aptitudes, and until the beginning of high-school, I was on the Ivory Tower track.

And then, in ninth grade, everything shattered.

My first hospitalization happened less than one month into my ninth grade year. Following that, I spent a total of more than six months over the next three years as an in-patient at three different psychiatric institutions. The rest of those three years, I spent in intensive day treatment.

Freshman and sophomore years were the hardest: those were the two years during which I was in and out of the hospital (where, perhaps a bit ironically, I enjoyed an almost-normal social life for the first and probably the last time). Those were the two years during which things were at their worst for me.

As a junior, I was able to attend a public arts magnet in the afternoons; I graduated from that magnet program as a regular senior (albeit one with no social life, no friends at school, and probably much vaguer ambitions than 99% of my peers) — but by then the Success Train had already jumped its track.

This isn’t to say that the arts magnet program wasn’t rigorous. It was: extremely so. It was selective, rigorous, and demanded an enormous time commitment. However, I was able to handle it mentally because I’d completed most of my high school course work in very low-pressure schools(1). I was able to handle it because, in a very real sense, the pressure was off: there was no chance of ticking off boxes on a list of prerequisites for some arbitrary definition of success.

There was only surviving and following my passions.

I spent the first three years of high school at very small, selective private schools — private schools whose selection criteria were based not upon academic performance, but upon severe mental illness. Private schools which focused not so much on grades or on preparing their students for ivy-league futures, but on, you know, preparing their students to have some kind of future at all. Any kind of future.

The first two schools were basically full-on survival-mode schools attached to psychiatric hospitals: academically, I would have been falling behind my age-mates if I hadn’t spent most of my education up to that point in a selective prep school with an academically advanced curriculum. Academics weren’t the foremost concern at that point: the foremost concern was surviving, not starving myself to death, not committing suicide, becoming stable enough to stop winding up back in the hospital.

None of the schools where I spent my first three years of high school were focused on trying to get kids into top-notch universities. In fact, they really weren’t all that concerned with universities at all — they were focused on helping kids survive and not wind up in the hospital, rehab, or prison.

Just getting through the day without losing “points” — that was success. Being able to go on the end-of-week outing to the bowling alley — that was success. Eventually making it back to a mainstream high school or on to a community college — that was a gigantic win; a true cause for celebration.

If a student felt confident and stable enough to apply to colleges, that was an achievement — that would make the teachers and administrators at these schools immensely proud, but it wasn’t a major focus of any of these programs. Likewise, there was a real recognition that one’s worth had nothing to do with such markers of material success — so there was no pressure about it at all.

And so, with the pressure off, I learned a couple of things.

First, I learned that “success” was a pretty flexible idea.

Second, I learned that failing to tick the check-boxes on the road-map to a more typical kind of “success” doesn’t mean you can’t get there. There is, after all, usually more than one route to a given destination.

I applied to six or eight small, highly-selective colleges (including Amherst, Bennington, and Marlboro) when I was graduating from high school. I figured I didn’t have much to lose, so I wrote very frank, honest admissions essays about my experiences as a queer kid who had been through the psychiatric wringer.

I was accepted with scholarship offers to every single school I approached, and I suspect that my frankness about the path I’d trod to reach the point of application had a great deal to do with that.

Ultimately, I chose not to go, just then: I knew I wasn’t ready, which represents an entirely different kind of success, one that might feel very alien to most people from my particular background.

It’s weird how sometimes our weaknesses become our strengths.

Bipolar disorder derailed my life. It also afforded me the opportunity to discover that going off the rails isn’t the end of the world; that, in fact, as so many people wiser than I have pointed out, the greatest adventures take place when you wander off the map.

Bipolar taught me that you can, in fact, choose a new path; that you can redefine success; that you can always start over.

I learned that it is possible to make a comeback — and also possible to decide what “making a comeback” really means. I learned that success can be defined in many ways, and that sometimes you change your mind mid-stride about what “success” means.

Sometimes, when I’m frustrated about being “behind” my peers (who are, by now, completing graduate school or out making their way in the world) in terms of worldly success, it helps to remind myself of this fact.

Part of me still vaguely regrets the fact that I didn’t go to either Amherst, Bennington, or Marlboro. I think any of those experiences could have been awesome. They also might have been more conducive to a more typical path to a more normal kind of success. Then again, they might not have. I chose not to move on to higher education at the time because I knew there was a high likelihood I’d crack and flunk out, after all — and then I’d probably be right where I am now, anyway.

If you’d told thirteen-year-old me that I would wind up at a branch campus of a public university in the Midwest and that I’d be happy with that outcome, I probably would have looked at you as if you’d grown another head. I didn’t really have a coherent long-term vision at that time, but that sure as heck wouldn’t have matched any shred of a vision I did have. For that matter, I had only the vaguest sense of what and where the Midwest really was (at the time, I was all about Vermont).

So, basically, what I’m saying — here’s the TLDR version — is that one of the greatest gifts bipolar has given me is the gift of derailing my life.

That gift has allowed me to redefine success, to pursue my own definition of happiness, and (not insignificantly) to meet and marry the love of my life.

Yes, bipolar has made my life harder than it could have been. It continues, at times, to make my life hard. If I had the chance to wake up tomorrow without bipolar disorder, I might take it (if it didn’t come with side-effects and didn’t mean sacrificing the creativity that drives so much of my life).

And yet, at the same time, while bipolar has made my life harder, in a way it has also simply made my life.

And that is an unexpected gift.

So there you have it.

The next time I’m haranguing myself over how I have no right to even consider becoming some kind of psychotherapeutic professional, I will try to come back here and read this: because, I suspect, this is the gift that I have been given that I am meant to pass on to the world — the gift of understanding that a crashing derailleur can become the beginning of a beautiful journey, and that maybe the best thing that can happen is to simply lose the map.

Ballet Squid Chronicles: Onward and Upward

Tonight, Claire sorted my fourth position (which was too wide), silenced my too-noisy pique, and gave us all a number of general corrections about keeping our weight moving forward and upward.

This latter point makes adagio both easier and prettier.  Emphasis on easier.   Much less “construction crane,” much more “graceful swan.”  Or, you know, fairly graceful turkey.

We did some nice choreography, lovely little jumps, and then I pulled the &#@! out of my right gastrocnemius soleus (thanks, Denis!) doing a petit allegro combination across the floor — pulled it so hard I couldn’t jump on that leg for the remaining five minutes of class (I was able to do pique turns using the right as the supporting leg, but not the left).

Brienne was in class tonight and showed me how to roll it out on a lacrosse ball.  I think that, some naproxen, and a little RICE should sort it.

So there you have it.   Your Humble Ballet Squid has finally succeeded in injuring himself during class, but not so badly he won’t be back in action this weekend.

In other news, Paul Taylor on Friday!   Wooooohoooooo!

In Class

In class on Saturday, as Claire was giving us a combo, four of us were standing in a zig-zag, waiting in various half-baked b-plusses.

Then Claire gave us all the hairy eyeball and said, “Even in class, even when you’re just waiting, you can never sickle or cross your feet. You have to stay on your supporting leg and keep those working toes weightless.”

And we all looked at ourselves and realized we were being lazy and straightened up and flew right.

Until that moment, I had never noticed how slack my rest position was. Lazy, slouching, sickled.

Consider that fixed. I’d like to upgrade my b-plus to an A-plus.

Ballet Squid Chronicles: Back In My Element

I took Claire’s class this afternoon, and I’m starting to feel like I’ve got my legs under me again.  Which is good, because at the beginning of class, I wasn’t so sure.   For some reason, I kept dégage-ing when I was supposed to tendu and vice-versa.   D’oh.

Claire also gave me some hands-on mid-torso corrections, getting the pelvis tucked back under while bringing the sternum forward.  I was once again over-correcting for my tendency to hollow my lower back, throwing my shoulders back and compensating in the mid-torso.  The core work this month has made it a little easier to keep my torso pulled together when I remember to do it.  Now I just need to remember.

The hard part is knowing that what feels like a straight torso isn’t, in the same way that I had to re-train my proprioception with regard to my wrists and arms.   (This is an interesting side-effect of that benign joint hypermobility thing; it makes your arabesque awesome, but your proprioception kind of wonky.)

Anyway, in today’s class I realized that if I rein in the size of my movements, I can get prettier technique out of myself.  I guess I should know that by now.

Also, I need to get back to having confidence in myself as a dancer and
not thinking so much.  I kept reminding myself to just dance, that the combinations would come, and when I did that successfully, things came off rather nicely.

In other news, I found a Pilates class I can probably work into my schedule, so I’m hoping to give that a try some time soon.  I don’t want to add too much to the rotation until I’m really on top of things, though.

So that’s it for now.   More to come.

Cue Rocky Theme

I’m cautiously optimistic that I’m recovering from this week’s episode of depressolepsy.

I got to sleep without any trouble last night (regardless of the caffeine).   I woke up once at around 01:30 to stumble, zombie-like, to the head, and then to stumble onwards into the kitchen, where I ate one quarter of a baguette because I was starving.

This morning I’m up and about and feeling mostly human: predictably, my ankles are stiff (they always are after I take a break from ballet and then return to class),  but otherwise I’m making it.

I am debating whether I’m ready to jump back into intermediate class tomorrow morning.   It might behoove me to do Saturday’s beginner class instead for a couple of weeks in order to get back on form, even though that will mean following a W/S/S schedule for a bit, which seems a little weird.

In other news, I broke off the Karakoram’s wing mirror yesterday, so I snagged a replacement from Bardstown Road Bicycle Company.  It’s a “Mountain Mirrycle,” and it is hands-down the single best bike mirror I’ve ever had.

So that’s it for now.   Today is for homework, chores, and going on a date with my husband (woot!).

Ballet Squid Chronicles: Weaksauce

So I did class tonight, and I kind of sucked.

That is, I had all kinds of flexibility — full split both ways (like, “Boom!   I’m on the floor!  Whaaaaat?”) ; insane cambre action (I’m all, “I can see me arse from here!”  Okay, not quite, but close enough) — and my core was pretty solid, but everything else was a mess.

I’m all, “Turnout?  Wot?” “Oh, weight transfer, not: wait, transfer…”

And Tawnee is all, “I DID NOT JUST SEE YOU SICKLE THAT FOOT, BOY.”

You know, except she’s a nice ballet teacher, so it wasn’t that harsh.

Well, I should say that everything was terrible except my allegro, both petit et grand.  My glissade be all snapsnap.

Also, I sound like an idiot because I’m really tired.

Anyway, I felt generally pudgy and schlubby and out of shape, but at least I felt like a pudgy, schlubby, out of shape dancer.  So there’s that.

I’ve had enough time off.  Back to Being A Dancer.

That’s it for now.

G’night, everybody.

PS : The Unitard Hides NOTHING. …Nothing, y’all.

Quickie: I’m Feeling Much Better

Yesterday’s plan of rest and conscientious caffeine use seems to have helped.  I’m on the uptick today.   Cautiously optimistic.

In other news, my SI group was awesome this morning:

image