Author Archives: asher

Time Flies

Usually I go to intensives and spend the whole time thinking, Wow, there’s a whole week left or whatever.

LexBallet this year has felt completely different, possibly because I’ve been driving back and forth each day (turns out that it is less expensive even than AirBnB). I’m used to either having the days or the evenings to just loll around and read during intensives, so this is pretty different. Even though the total drive time is only about 2.5 hours each day, I’ve also been at home, doing the things I normally do: going to class, running errands, doing laundry, cooking, amusing the cat … which is really quite different from hanging out in a guest capacity somewhere and not having to do anything except feed myself and eventually put clothes on.

So here it is, almost Friday already. I’ve learned quite a bit. This year only four of us are doing rep, and we’re all in the mix together, learning a scene from Paquita that’s usually all girls but which has a bunch of nice little variations. I am, of course, doing the one with lots of big jumps.

I’m wrestling with some of the corps part still, but feeling pretty decent about my solo (which involves three sauts de Basque, so of course I love it). I’m looking forward to showing it off a little tomorrow.

What comes after gets filed partly under Continuing Education and partly under To Know, To Will, To Dare, To Keep Silent. The CE part is masterclasses: one (maybe two) at LouBallet and one at LexBallet. The other part (parts, really) I’m keeping under my hat for now.

Suffice it to that sometimes you see a fork in the road approaching, and you have to make some decisions, and while either branch has its merits, sometimes you really find yourself rooting for the new horizon.

normality achieved

Back to normal classes today (plus an extra one, in musical theater-style dance). It went well.

Ironically, although I’ve been missing Monday classes due largely to dancing in professional productions, I felt more like a competent and capable dancer today than I have in a while. It guess doesn’t hurt that I was back on familiar ground: ballet will always be my first language.

Anyway, that’s it for now. 4 hours in the studio today. Hoping I’ll sleep well! 😛

Sleep Dep, Two Shows, and Drunken Excess

…Or, well. If you can call getting tipsy enough on two beers that you feel that driving is perhaps unwise “drunken excess.”

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The cast of “Only Weeds Will Rise In Winter.” Photo credit forthcoming, because I’m not sure which of the various photogs took this one! You guys, I am really not sorry to be done wearing that unitard.

Weeds went pretty well. I felt very solid about the first show, even with a series of last-minute notes. During the second show, the fact that I’d only slept for four hours (for reasons having nothing to do with the show) caught up with me, and I felt mentally somewhat glitchy, though evidently I did a solid job not telegraphing my glitches, including the one very near the end during which I rolled over and completely blanked out not only on what the next move was, but which part of the dance in question we were even on o___o’

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If you look this tired WITH stage makeup, congratulations, you’re really tired.

I was onstage for basically a solid hour and a half[1] for both shows, with only brief breaks, and didn’t really rehydrate adequately after the second show. End result, when we headed down to the nearby gastrobrewpub for a post-show libation, I downed my first beer too fast (I failed to realize that this is one of the places where you have to ask for water), and subsequently found myself remarkably woobly after only two beers. Oops.

  1. The show ran about 1 hour, 10 minutes, but I was the opening act. Basically, from the time the doors opened until the start of the show, I was sorting cans and building a can tower (see photo above).
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An accidental, but nonetheless appropriate, representation of my approximate degree of non-sobriety after last night’s celebratory beers.

Needless to say, I asked Denis to drive me home, which was interesting since we’d arrived in separate vehicles and I had to drunkenly transfer all the things so my car could sit on a corner downtown overnight without looking like too tempting a target (I mean … if a Subaru that’s old enough to be a rising sophomore at university is ever all that tempting a target?).

Anyway, I did my penance in class this morning. I’ve really, really missed my usual ballet routine, so it was good to be back in the studio.

For the most part I felt reasonably good about class today. I was somewhat less coordinated than usual … Like, we did an exercise that was nothing but chassée-chaîné-chaîné-chaîné-chassée-chaîné-chaîné-chaîné-chassée-chaîné-chaîné-chaîné-tombé-pas de bourrée-tendu, repeat left, repeat right, repeat left in which I could not for the life of me convince both legs to plié and chassée at the same time.

Likewise, my extensions were meh. Not bad, just passable by professional standards. Which, I guess, should tell me that I’ve made a heck of a lot of progress in the past couple of years, because honestly, “passable by professional standards” is still pretty good. But they lacked a certain je ne sais quois. My arabesque in particular was, erm, workmanlike, but nothing more … to be honest, I don’t think I would even have counted it as “passable” until we made it to centre.

On the other hand, there were some good moments in the petit/medium allegro (be still my heart) in which Killer B and I got into the spirit of things and executed these lovely bounding passes with assemblés battus. We jump well together … at least, we do when I’m not a shambling mess of legs, confusion, and despair.

The long and short of it is that I thought, overall, that I looked pretty good today. Some of this, of course, might have to do with the fact that I set the bar pretty low this morning (as opposed the barre—we were a small class in the big studio downtown, so we just used the one fixed to the wall). But I think even my standard for bad days has improved immensely over the past year: even when I’m a terrible dancer, I’m a much better terrible dancer than I used to be.

Likewise, I managed somehow to have a Good Body Image day. Or at least a Good Body Image morning … I mean, the day’s not over yet. My reflection looked like a strong, graceful, compact dancer, rather than a shetland pony with delusions of grandeur.

brown and black pony eating grasses

It NOT me … this time. (Photo by Megan Clark on Pexels.com)

I’m not entirely sure how or why this happened, but I’ll take it.

Anyway, tonight CL is opening for Kentucky Shakespeare. I’ll be doing a ball solo (NOT THAT KIND OF BALL SOLO GET YOUR MINDS OUT OF THE GUTTER). Still haven’t decided what I’m wearing or which shoes I want (character shoes? ballet shoes? probably ballet shoes), but it should be fun, and will be a nice way to either close out this week or start next week, depending on how you look at it. I tend to regard Sunday as the first day of the week for scheduling purposes, but because I had a show last night and rehearsals all week, it just really feels like the end of a week that was about ten days long 😛

So that’s it for now. More soon, one hopes.

Cooking with ADHD: Chia Pudding

It’s been about a thousand years since I posted a recipe, but this one’s worth knowing about if you like tapioca. If you don’t like tapioca, on the other hand, you might hate this stuff.

The TL;DR

Prep Time: ~5 minutes
Cook* Time: 1 – 8 hours
Who’ll Like It: Tapioca fans ❤
Who’ll Hate It: Tapioca haters XP
Best Uses: Dessert, Breakfast
Hardest Part: Remembering to buy the d**n Chia Seeds
Pairs Well With: Disorganized mornings; late-night cravings

*And by “cook,” I mean “stick it in the fridge and mostly ignore it”

The Actual Recipe

I’ve adapted this from a variety of similar recipes with similar goals. One of the best things about it is that it’s adaptable. Lactose intolerant? Use almond milk. Allergic to almonds? Try coconut milk. Hate coconut? Use rice milk. Don’t like artificial sweeteners? No worries; you can use sugar or agave or honey or maple syrup or…

Here’s What You’ll Need (for each serving)

  • 1.5 tablespoons of chia seed (I’m using black chia seed because that’s what I’ve got, but white is fine, too)
  • .5 tablespoon unsweetened coconut shreds (or powder)
  • .5 cup unsweetened vanilla almond milk
  • 1-2 tsp sucralose
  • ~.25 tsp coconut extract
  • ~.25 tsp vanilla extract

Here’s What You Do

  • Put everything except the chia into a small container with a lid (I’ve repurposed a glass jar that came with shredded cheese in it)
  • Stir briefly
  • Add the chia
  • Whisk all the things briefly with a small whisk (a fork will work fine, too)
  • Stick the lid on and stick that bad boy (or girl, or gender-nonbinary personage) in the fridge
  • Chill for a minimum of 1 hour, but preferably more like overnight, then come back, stir, and stuff it into your maw

For even distribution of the chia seeds, I’ve been coming back 30 minutes into the chill time to re-whisk everything, but that step is optional.

Most of the recipes I’ve found for this use 1 cup of whatever milk-like product and 3 or 4 tablespoons of chia seeds, but when I made my first batch, I found that makes rather an enormous portion. I halved all the volumes to arrive at what seems, for me, like a more reasonable end product.

That said, you can definitely shove an entire 1-cup-of-milk portion of this into your face if you try hard enough.

Notes

  • I’ve read that highly acidic ingredients can prevent the chia seeds from “gelling” adequately, so if you’re going to toss in orange juice, lemon curd, etc, you might want to do it right before you serve this up.
  • If you eat this stuff after one hour, chances are good that it’ll still be a little loosey-goosey and a little crunchy. Don’t worry, though, you won’t die. Or, at any rate, I didn’t.

I entered the ingredients above into LoseIt’s recipe calculator, and here’s what it threw back:

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The (V) is for “vegan,” since I also made a dairy-based version and entered that one into the calculator.

I suspect that this would be really, really good with lemon curd … which, of course, I don’t happen to have on hand. Even better with berries (which I do have) and lemon curd.

As always, I’ll try to get some pix up here soon.

‘Til then, please enjoy this picture of me looking disconcertingly like a young George “Dubya” Bush on the trapeze:

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I misunderestimated how aggressively this trapeze would attempt to remove my clothes.

And also this one of “splits down,” just because:

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Danseur Booty: 1 / Tights-Removing Trapeze: 0

Things I learned At PlayThink 2018

Aaaaaaaaand, we’re back!

This year’s PlayThink proved, without a doubt, to be the best yet for me—the best by leaps and bounds, in fact (pun not originally intended, but retained for effect ;D).

Part of that was simply the result of the stuff I’ve been working on as a human being for the past year: accepting my social difficulties and learning to socialize within my own limits; growing more confident in my basic worth as a human being; listening with presence and patience; and feeling more confident in my body.

Part of it was the result of very conscious choices that I made before and during the event. I’mma talk about those a little now, k? Cool. Here we go:

Good Choices That Worked Out Well

Decide Not To Feel Obligated To Take A Million Classes … Or Any At All.

This may be the smartest thing I’ve done for myself in years. In the past, I selected at least one class each day that I just couldn’t miss, and the more I missed, the more frustrated and cranky I got.

This year, I decided to take a different tack: to take a page from the Burning Man playbook and regard the experience as The Thing, and the classes as optional sprinkles.

In the end, the only class I went to was my own (because obvs). That’s fine: I opted, instead, to spend a lot of time relaxing, hanging out with friends new and old, and dancing my tuchas off in the evenings.

It turns out that that’s a great way to do PlayThink, too. I gained just as much from simply sharing time with my fellow beings as I would from taking classes, without the stress of staying on top of the schedule or forcing myself to be out among the masses when I needed to be alone for a while.

Accept The Whims Of The Universe.

PlayThink is usually the only place where I can realistically expect D to join me in a dance performance.

This year, his rotator cuff surgery meant I wasn’t sure until a few weeks before the event that he’d even be able to participate … but I wanted him in my piece, regardless.

Of course, this year I’m also juggling the busiest schedule I’ve ever seen, and was sick for two of the 3-or-so weeks that I had to rehearse with him.

In short, I got almost no rehearsal time in with D. I wound up teaching him the basics of weight-sharing in a 20-minute window a few hours before we were scheduled to hit the stage, then trusting that the Demiurge of Improvisation would visit us and bless the final 40 seconds or so of our piece.

On top of all this, I forgot my push broom and had to borrow one, which was a fantastic broom, but had a very different balance point than mine and thus handled rather differently.

The end result was that a bunch of the stuff I had intended to include got left out, and some spontaneous bits magically appeared. Oh, and I threw D right into his personal nightmare of being asked to perform dance improv with an audience.

The funny thing is that everyone loved the piece anyway.

For PlayThink, I like to make pieces that tell simple, funny stories, and the story still came through.

I also like to take familiar materials (in this case, rather literally) and do unexpected things with them. PlayThinkers are a uniquely receptive crowd for that kind of thing!

The best part, though, was that D revealed an unexpected facility for character acting. Apparently, he was completely terrified while he was on stage … but he projected such an air of confidence and radiant joy that even I had no idea he was feeling anything else.

When your dance partner who’s also your life partner can’t tell that you’re actually terrified and not having the time of your life, you’re officially Doin’ It Rite.

Do Scary Things, Knowing That Everything Might Go Completely Wrong.

I fully intended to test-drive my workshop before PlayThink.

You know how these things go, of course. The road to hell, &c.

Anyway, I was actually quite nervous about teaching, and quite convinced that I had No Srs Bizness Doin So.

Turns out, though, that the good folks who participated* didn’t feel that way at all. My workshop went well and was well-received, and I think the participants actually felt like they learned some stuff, which is great.

I decided up front that everything might go wrong, and that I was going to have to be okay with that, but it was, in fact not terribly likely that everything would go wrong**.

I also decided that I would frame the workshop as one in which we were there to learn together, instead of one in which I was Thuh Authoritah and my students wouldn’t Respekt Mah Authoritah unless I demonstrated complete mastery of the subject matter.

Hmmmmmmmmmm.

The best moment for me, by the way, happened much later. The next evening on the dance floor, I saw a couple of the students from my workshop using some of the stuff I taught. They were experimenting together with weight sharing, and they laughing, and clearly having a good time. That was a cool and unexpected outgrowth!

*Did I mention that I was also afraid nobody would come to my weird little workshop? No? Well, I was.

**This is an approach that’s sometimes used in treating anxiety disorders and specific phobias. You learn to have this little conversation with yourself: “What am I afraid will happen if I [don’t go back and check the stove again/leave the house/talk to a stranger at this well-attended festival full of thoughtful people/etc]? I could [burn the house down/die/be abducted by a ring of human traffickers]. Could that really happen? Yes. Of course it could. Will it happen? Probably not. How likely is it to happen? Not very.”

As you can probably tell, this approach has been really helpful for me. By naming the thing you’re afraid of and acknowledging that is, in fact, actually possible, then examining the statistical probability of the thing, you remove some of its power without dehumanizing yourself (or whoever it is that’s struggling with anxiety). Obviously, it’s part of a larger process, but for me it’s a really important part.

Ultimately, PlayThink is about sharing and learning … and even though I didn’t spend a lot of time in the formal learning space this year, I feel like I learned more than I’ve learned at any other PlayThink.

If I had to crystallize the lessons I learned into soundbytes, they’d go something like this:

  • Honor your incarnation by respecting your own limits the same way you’d respect someone else’s. It’s okay. Really.
  • Of course it could all go terribly awry: gently embrace that possibility, then get out there and Do It Anyway.
  • Whenever possible, approach teaching as an opportunity to learn and explore together.
  • Sometimes it’s okay to admit that you’re afraid.

That last one is pretty groundbreaking for me. The circumstances of my childhood and adolescence taught me that to reveal vulnerability was to have that vulnerability exploited: to show fear was to be given reason to be even more afraid; to show weakness was to be hurt.

I think there’s still a lot of the world that operates on those principles, so I’m not going to say that it’s always safe to say, “This scares the #$%! out of me.” Sometimes it’s really, really not.

But it’s good to know that sometimes, it really, really is.

 

 

Unstrung

It’s funny: when we speak of someone being “unstrung,” we typically mean it in the sense that a harp or a piano that has been unstrung is usually having a pretty bad day.

We don’t typically mean it in the other sense—that a bow (the old-fashioned kind made from wood and/or horn and/or bone) should be unstrung regularly, lest the tension of the string ruin its strength.

I think I’m experiencing a bit of both right now.

It’s deeply unpleasant to miss a week of class. By day three, I begin to suffer from the sneaking suspicion that I’m losing my figure if I eat at all (please note, if you’re new to this blog: this a criticism I apply solely to myself—I’m not generally prescriptive about dancers’ bodies, unless the dancer in question is me). My history of anorexia is still, essentially, history … but I’d be lying if I failed to admit that its voice speaks louder when I’m forced to sit down for a while.

This is complicated by the fact that my internal mirror, my mental representation of my body, is updating slowly: that I’m starting to see myself as this rather athletically-built kind of boy, possibly the sort that runs to fat by current professional ballet standards (though perhaps not by any saner standard in the world).

Likewise, I begin to feel frustrated: I know I’ll have to work back into my body a bit; that ballet in particular is an art that demands constant practice. If I miss class for six days, I, my director, the audience, and even the spiders in the stairwell will know. And I’ll really, really know. My deep rotators are, by this point, slowly morphing back into deep potaters (though I am at least feeling well enough to do simple turnout exercises now, provided I do them lying down or in small batches).

And yet it would be impossible and unhealthy to dance through the illness I’ve had this week—I might have milked a few more classes out of myself, but it’s probable that for every hour I strained to charge forward, I’d pay back a day in interest. The show must go on, but at the same time it’s stupid to feck about with a fever and an aggressive infection that has already colonized your upper respiratory system and is eyeing your lungs. If you have to do a show and you don’t have a second cast, you do it; if you’ve got a slow week of class and rehearsals, for goodness’ sake, just take a minute and heal.

Now is no time to get sick—at least, not sicker than I have been. If there’s a good week to take a hit from North Tonsilia, for that matter, this was it: next week is PlayThink, then it’s tech week for Weeds. This week we had fewer rehearsals than usual, and none that were unusually demanding. There was time to sleep and recover.

Time to sleep and recover also means time to review video of Tenebrae and think about work and consider how to move forward.

It’s still a little weird to think about myself as a professional dancer and as a nascent choreographer. It’s really weird in this way that it’s not as weird as it once was. I’m starting to think about the long game; to consider strategies for working as much as I can for as long as I can. It doesn’t seem as ludicrous, anymore, to think seriously about choreographing projects and so forth.

In that light I should think about trying to avoid, say, choking to death. I sliced up some steak to eat with a salad today (now that I can eat salad again :P), but I failed to account for being pretty much unable to breathe through my nose, still. I wound up aspirating a longish piece of steak in the process of trying to bite through it, and D had to perform the Heimlich maneuver. Obviously, it worked: out came the steak, and after a few minutes I was able to go eat my lunch, which I’d literally just started.

Still, it gave me pause. I’ve managed to choke on things before, as one does, but never so badly that I couldn’t sort it out myself. It was less scary than one might expect: like, the initial feeling was, “Oh, I’m choking, I should sort this out,” followed by futile attempts to somehow dislodge this strip-o-steak, um, psychically or something?

The problem being that by the time I staggered into the living room where D was, I was kind of redlining and started to panic as I realized I couldn’t remember the universal sign for “choking,” which apparently is not instinctive :O

That said, I was still able to make a faint gurgling hiss somehow: apparently that, combined with the usual hand-waving that I do when I can’t find words, prompted D to realize that I was choking.

The actual experience of being Heimlich-ed was interesting: there was a moment of, “This isn’t worki—” and then all at once it had worked and I was holding a disgusting, slimy strip of meat in one hand. Weird. After that there was a brief episode of the physical rage that’s my universal response to physical threats, but in a particularly helpless-feeling fashion that made me sit down on the floor and say some colorful words.

And then I realized it was just that—the same reflex I always have—and that I was fine and D had basically just saved my life by correctly reading a particular form of interpretive dance that I do when my language coprocessor crashes.

Which, in retrospect, is really rather funny. So now I have another amusing story to tell at dancer parties, which are basically the only parties I attend, about how interpretive dance saved the day.

You guys, I swear my life is not normally this interesting.

You may now proceed with the obvious jokes related to choking on huge meat, biting off more than I can chew, etc.

Attack of the Tonsils

Last night I kept choking on water (and tea, and everything else). That should’ve told me something.

Here’s a quick recap of this week!

Sunday:

It’s fine. Everything’s fine. It’s just allergies. With a fever. Because that happens all the time.

Monday:

…I’m feeling much better! (Hack, wheeze.)

Thursday:

That word, “Better.” (INCONCEIVABLE!)

Thursday Night:

Also, that part where I said I wasn’t running a fever? Yeah, well, I was wrong.

Today:

Dr. B ordered a shot of prednisone and a round of antibiotics. I was actually still running a fever this morning, and was apparently a thermonuclear reactor last night when I was sleeping. Hmm.

Evidently, that repeatedly-choking-on-water thing is sometimes a sign that your tonsils have decided to annex the greater portion of your nasopharynx in the name of Prussia.

Goshdarn imperialists!

On the upside, my lungs (though fairly annoyed by the repeated coughing fits induced by my tonsils’ aggressive assault on South Pharyngia) have chosen to remain diplomatically neutral. Which is to say that they’re slightly wheezy, but we caught this before “slightly wheezy” could develop into “a goop-filled colony of Upper Tonsilia.”

Also on the upside, the medrol injection has started doing its job, which has both reduced the pain in my throat and made breathing, coughing, and drinking easier.

Provided, of course, that I don’t attempt to do all three at the same time.

Yaaaaaaaaay!

Probleme

So it turns out that my stiffness and disorientation on Saturday was the prodrome of some kind of aggressive respiratory infection. Like, mostly functional on Sunday morning, fever of 101F and raging headache by 9 PM Sunday evening kind of aggressive :/

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The recycled status of this picture does not make it any less accurate a representation of my current health state (so, zombie with a side of gay? or…?)

As such, I haven’t been in class all week, though I did go to a tech session for Weeds last night. We were shooting video for projections, though, so there was no serious dancing involved … mostly we hung out on various street corners looking mildly threatening, but definitely more threatening than a dance number from West Side Story[1].

  1. You guys, I love West Side Story, of course, but can we agree that some of the gangland dance numbers are, well, less than intimidating?

I am almost certainly skipping class tonight as well, because frankly nobody needs to try to dance when they can’t actually stand up, and none of the people in class who remain able to stand up need my germs.

C’est la vie. Sometimes you win; sometimes the microbes win.

adults beggar black and white busy

Basically me at the end of rehearsal on Sunday. (Photo by Pixabay on Pexels.com)

Pas De Probleme

Si vous parlez français, mes chers lecteurs, and/or if you speak Ballet, you know that “pas de problème” can mean either “no problem” or “problem step.” It’s one of of those puns that never gets old, as far as I’m concerned.

Anyway, class this morning began as an ongoing pas de problème in the latter sense, since I was still semi-disoriented (I probably should have skipped the sleeping pill last night) and oddly stiff.

Eventually, my body decided to bring itself online, although my brain lagged behind and kept asking stupid questions like, “Are you sure this Sissone travels right?!”

(Yes, Brain. It begins left foot back and travels sideways. Which way do you think it’s going to go? I mean, it could be a Sissone under … BUT IT’S NOT.)

Regardless, it wound up being a semi-acceptable class, which was good, because it was packed and a significant portion of the company came today. I wasn’t at my best—my body never quite finished organizing itself—but I wasn’t at my worst, either.

I’m debating whether HRT means I should actually devote some time to intentionally stretching on the daily. I’ve felt tighter the past week or so than I’m used to feeling, but I’ve also just returned to serious aerial training and done some serious sitting down in the car (we drove to Saint Louis again, this time for a fantastic dance festival).

I suppose it couldn’t hurt to be more intentional about mobility, anyway—especially going forward, with more partnering and so forth on the agenda.

After the Jessica Lang show, D mentioned to me that he thinks I should start strength training with an athletic or personal trainer who understands dance precisely for the purpose of partnering—especially lifting other guys. He rarely makes suggestions about how I should approach my life as a dancer, but when he does he’s usually right, so I’m contemplating how to move forward in that regard. Señor BeastMode is an obvious choice, if he has time in his completely crazy schedule to take on a client right now.

On a broader level, I’m experience the weird cognitive landscape specific to once again having to acclimate my mind to changes in my body. Obviously, I’m trying to work to avoid hypertrophy as much as possible, since I don’t need to be bigger, but at the same time the influence of hormone therapy is changing the overall shape of my body.

Sometimes I’m okay with that, sometimes I’m not. I’m trying to really internalize the idea that it’s okay to be someone who is a dancer, a bottom, and also rather athletically built.

Obviously, this is a refinement of my ongoing body-image weirdness … but it’s such an oddly-specific refinement, I guess. The dancers in Jessica Lang’s company (Jessica Lang Danceou JLD) made me feel a little less alien, since there are several guys in JLD who are small, rather pretty, and built like the proverbial brick …. houuussse (da-na-naaa-na … they’re mighty, mighty).


I felt that this occasion called for some Commodores. You’re welcome.

Given that JLD’s choreography skews strongly towards ballet (albeit contemporary ballet[1]), and that ballet is my preferred idiom, it was nice to see boys whose bodies resemble mine (only better trained, I am forced to admit) working in a major professional company.

  1. …Which is fine, because it turns out that I lurve contemporary ballet.

I realize that, as far as work is concerned, this continues to amount to First World Ballet Problems. Several people who know me have pointed out that my body is not out of line with the standard for male ballet dancers; I’m on the small end and rather powerfully built, but not to such a degree that you don’t see similar guys in ballet in general. Mine is, K suggests, a Bolshoi body rather than a Balanchine body. I’m down with that. I like the Bolshoi better anyway 😉

On a different level, though, the way my body has changed, is changing, is forcing me to redefine my understanding of myself in accordance with my sexuality. I’m not a waifish little twink anymore, but evidently the kind of guys I find interesting (including my husband) are not interested only in waifish little twinks.

I don’t write a great deal about my sexuality, in part because this blog is really more or less about dancing at this point, and in part because my difficulties with it are sort of, like, Queer 452 difficulties instead of Queer 101 difficulties. This may not be true for any of you who read this on the regular or who are reading it right at this very moment, but I suspect that a lot of people who are less familiar with queer issues might not quite grok the source of my internal conflict (well, a significant portion of men might not: female aerialists, who sometimes wrestle with essentially the same problem of the disconnect between their outer Aerial Beast and their inner Dainty Girl, are likely to get it in one, so to speak).

At the same time, I get that it’s aggressively First World Problems-y to be like, “O, woe is me, I have grown up to be this ripped little mesomorph instead of a dainty little ectomorph.” Like, yeah, I get that there are bigger, more problematic problems by far.

And yet, we live with what we live with.

I should note that this isn’t a question of consciously hanging on to some kind of ideal that I know isn’t going to work with me. It’s a question of some really outdated conditioning disrupting what might otherwise be a very natural process of being like, “Oh, okay, this is where my body is going, and this is the stuff I like to do with my body, here’s where I fit. Cool.”

I feel like ultimately it will take a while and a kind of re-conditioning … maybe even some very conscious de-conditioning. That’s going to be a challenge, since the source of the conditioning in question remains my life’s most significant trauma and one that I’m still working to address.

Either way, I should stipulate that I’m grateful for my body and what I can do with it.

I should also stipulate that I’m encountering some of the typical, boring adolescent problems: acne and, um, errr, ahh, wow, there are an awful lot of very freaking hot guys in the world, did you know that? (Actually, just, like, hot people in general.) Seriously. HOW DO PEOPLE ACTUALLY LEARN ANYTHING IN SCHOOL between the ages of 13 and 18, or what have you???? Thank goodness ballet requires so much focus it’s like wearing blinkers (except sometimes, between exercises, when you’re standing there watching and your brain drifts off and is like DAMN HE LOOK GOOD, WHERE YOU GET THOSE CUTE TIGHTS BOY, oh crap was that piqué-piqué-rond or what?).

I’m not sure how to address the latter problem, and today I was really disappointed when I went to the ONLY STORE IN TOWN that reliably stocks Queen Helene’s Mint Julep Mask, which is what I use to address the former problem (acne), and discovered that they were fresh out. I got some other mask that is reasonably acceptable, but it turns out that Amazon carries Queen Helene, and it comes in a tub. The tube version is fine, but a little hard to manage one-handed when you’re languishing in the bath with a good book, so since the price is right and so forth I think I’m just going to order it from Amazon from now on.

On the upside of the whole acne thing, my skin has decided to be way oilier than it used to be, and not to be as ridiculously dry as it has been for basically my entire life. That is a welcome change, to say the least.

oh h*ck

Somehow, I had become convinced that the LexBallet intensive was in June (even though it has always been in July) and that PlayThink was in July (even though it has always been in June—my sister’s birthday coincides with it every year), and EVEN, even though I made widgets for this very blorg that list the dates.

Needless to say, knowing that The Time Is Almost Upon Us has me, as they say, a little shook.

Mostly because, for the first time, I’m teaching a workshop, and I haven’t even given said workshop a test drive like I meant to (because Golden Retriever Time, y’all).

Anyway. I think it’ll be okay, but my Imposter Syndrome is off the charts with regard to teaching. I’m like, HOW CAN I TEACH, I DON’T ACTUALLY KNOW ANYTHING??!11

Sissone

Except what a foot is. I can identify a foot.

I’m sure everything will go just fine and nobody will die. And if anybody does die it will probably because Kentucky is ridiculously hot and humid in June and not because I’m a horrible, incompetent danseur and should never be allowed to teach anything, ever. But I hope nobody dies even then because that would really probably put me off teaching for a while (because I’m horribly superstitious deep in the cockles of my heart).

Regardless, I have a Plan (and not just a Goal) for the workshop and a 2-hour window in which to accomplish that plan, so I’m pretty sure it’s going to be okay. I’ll just, as Señor Beastmode likes to say, Stick To The Plan. Unless the Plan proves completely useless, in which case I’ll throw it out the window.

In case you’re wondering, the exercises I’m planning to use will be sequenced as follows:

  1. The Little Dance
  2. Invisible Catch
  3. City Streets (Solo Version)
  4. City Streets (Eye Contact Version)
  5. City Streets (Touch Version)
  6. Flocking (North, South, East, West)
    ~
  7. Mirroring (into Touchless Partnering)
  8. Leaning In
  9. Leaning Out
  10. Weight-Share Shape-Building
  11. Lean Tag
  12. Basic Dynamic Weight-Sharing
    ~
  13. 5-Minute Dances
    1. 5 minutes to draft a dance
    2. Brief showing (music: random)
    3. 20 minutes to revise
    4. Final Showing (music: random or dancers’ choice)

A lot of this is stuff I’ve learned from Pilobolus—stuff that I feel very comfortable doing, but possibly not like I have the earned authority to teach it. …Which is hilarious, because I’ve taught all of this at various points, with the exception of 5-Minute Dances, which is something you more facilitate than teach.

Ironically, I feel least qualified to teach in the dance idiom I practice the most (ballet) and most qualified to teach in the one I practice the least (modern partnering improv).

I would say that I’m not sure what that says about my faith in my practice, only I am: what it says is that ballet is a highly-technical, rigorously codified idiom, and teaching it incorrectly can really screw someone up. When I talk about the technical aspects of ballet, people routinely tell me I should teach—but I think it’ll take a few more years of learning, performing, and choreography…ing before I feel qualified to teach ballet.

I also need to start rehearsing “…Lover Boy” in earnest, because I haven’t really given that enough time.

Lastly, I need to NOT TAKE ON ANY MORE PROJECTS RIGHT NOW. I’m booked to the gills all summer, which came as something of a surprise even though in retrospect it seems fairly obvious that that’s what happens when you take two contracts and then load freelance gigs on top of them 😛

sissones_04.jpg

How I’m going to feel by the end of summer.

Not to say I won’t take a ballet job if someone hands it to me, because, you know, ballet.

But still.

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