This Mammoth Moment
Class was decent today.
My allergies were, as they have been, off the chain—but that’s par for the course, and no small part of the reason that I bother working on my cardio. The more fit my cardiovascular system is, the less it hates me when I can barely inhale because my nose and the back of my throat are full of goop but I dance anyway.
It wasn’t flat-out the best class I’ve had recently (that was Sunday, I think), but I still feel like every single day I make progress, which is something. Even last Thursday, when my allergies were so bad I thought my head would explode and I had to beg off of grand allegro (to my great and undying humiliation), I made progress.
After class, I reviewed Siegfried’s variation. I had meant to just mark it, but instead after the first phrase I found myself running it: contretemps-tombé-pas de bourrée-glissade-saut de chat, repeat. I was watching my port de bras and my turnout in the mirror and heading back to “stage left” suddenly I noticed that I was, as the song goes, “Way up in the middle of the air,” without actually trying, in this surprisingly nice saut de chat.
- The song in question being “Ezekiel Saw The Wheel,” a folk song which I’d never heard until I met my last roommate, who used to sing it: Ezekiel saw the wheel, way up, way up, Ezekiel saw the wheel, way up in the middle of the air.
Anyway, that saut de chat startled the heck out of me and I landed like a mammoth, but it’s really good to feel like I’ve regained the best of my “Terpsichorean powers,” so to speak.
- Why, yes, of course I’m referencing T.S. Elliot. Also, the musical Cats.
On the other hand, I don’t recommend landing like a mammoth even on good floors. I went back to marking, though with a little more vigor than your usual mark.
I also realized that I tend to fail to bring my second leg to the party when I do assemblés in the context of petit allegro.
I mean, it’s not that it doesn’t get there. It’s that I fail to really actively transport it. Like the first leg gets on the train, but the second one has to walk to the party.
I had somehow failed to notice that … no doubt in part because when I do grand allegro assemblés—especially porté—I really snap that puppy right the heck up there. But, in case you were wondering, petit allegro is not, in fact, “grand allegro, only smaller,” no matter what its name might imply. It requires its own approach (they do it like nobody’s business in Copenhagen).
But, anyway, I haven’t been really pushing the second foot through the plié and snapping it up there, and Killer B schooled me over it this morning.
So Killer B’s advice is to think of glissade-assemblé as a compound word; a hyphenated phrase like tombé-pas de bourée, (or, if you’re a guy, tombé-chaîné-chaîné-chaîné-chaîné-chaîné). You have to really push the trailing leg through the bottom of the plié that’s sort of the hyphen so the momentum doesn’t get lost.
- When you lose the momentum, you wind up with two separate words, one of them mumbled: “Glissade. Assemblah.”
So I tried it, and wouldn’t you know, it worked like a charm.
So that’s today’s bit of technical advice. Since glissade-assemblé is a petit-allegro stock phrase, think of it with a hyphen and pushpushpush the second leg through the plié in the middle, so when it leaves the ground again all the momentum is there.
And use your plié. And use your plié. And use your plié.
Which, coincidentally, will also stop you landing your saut de chat like a mammoth, which you will appreciate when you’re seventy and haven’t yet had to put in new knees, or so I’ve heard.
On Monday I found myself reading some old posts in the bath (because reading in the bath is what I would do basically 90% of the time that I’m not dancing, if I had my way … well, that and swimming in the ocean).
It was surprising to look back on where I was only three and a half years ago: to realize that, really, I had no idea I’d be doing what I’m doing now—or maybe just a glimmer of the idea; something that felt like the vaguest of pipe dreams, I suppose.
It was weird to read the words, “If I ever get a chance to perform,” or however I phrased it. At the time, it seemed like gift one distantly hopes to receive: perhaps if I’m really good, someone will give me–no, not a pony, but maybe a hobby horse?
Now the chance to perform is something I pursue and lay hold of with both hands and create for myself. It’s something I am beginning not to feel weird about getting paid to do, like, “Maybe if I keep my head down they won’t notice that they’re paying me money for this.”
And yet I realize, still, that in a way the chance to live the life that I’m living right now is a gift—a gift, I suppose, I’ve worked hard to be worthy of, and will continue to work hard to be worthy of, but still one that depends upon the goodwill of so many people other than myself.
Friday, early, we leave for the Playa again.
This year, a group is staging The Rite of Spring. I’ve never seen it live, so I’m looking forward to that. Perhaps I can find other dancers and do class with them.
As for me and my camp, we’re doing Open Barre, with Mimosas, twice. Contact improv, twice. And all the other things that my camp does, but that’s what I’m in charge of. My gift to the Playa, along with whatever I wind up feeding people, as so often I do.
My feelings are mixed about going this year. I’m working, so that’s a challenge—learning the choreography at a distance will be interesting—and I’m afraid of coming back with a respiratory infection again. I’ll have to be careful this year.
But there are always things to be learned, and what was it I was saying about learning not to constantly try to control the outcomes?
So there it is. This is the outcome right now. I’m strung between two loyalties, but perhaps it’s okay. If things work out as I hope they will in the coming months, I most likely won’t be able to go to the Burn in 2018.
Because, as D told me so many times, there is something in the world for which I will sacrifice all other things—even Burning Man, as much as I love it.
When all this is over, the desert will be there still (unless we blow up the world before then, in which case it’s all a moot point anyway).
Posted on 2017/08/16, in balllet, class notes, health, technical notes, uggghhh...technique and tagged ballet, glissade-assemblé, petit allegro, plié, saut de chat, use your technique-don't abuse your technique. Bookmark the permalink. 1 Comment.