Author Archives: asher
I See By My Outfit
…Or, Rambling Discursions On The Theme of Identity
I’ve been thinking a lot about identity.
Note that I didn’t say “lately” — there’s no “lately” about it. I’ve been thinking about it for years, for most of my life.
Some of this is a function of having been The Kid Who Doesn’t Fit Anywhere for my entire childhood and adolescence. Some of it is the result of juggling mental-illness diagnoses (like many people with bipolar, I’ve had a metric shedload of those, some more accurate than others) — does this fit me? How about this? Does this describe me accurately?
Some of it is a function of being intersex (which is a medical thing, but which nonetheless informs my experience of the world). Some of it is a function of being queer, especially where “being queer” intersects with “being intersex.” Some of it is a function of being a seeker by nature, someone who isn’t content with what he sees on the surface.
A lot of this used to seem, you know, Critically Important to me, with capital letters: like, if I could just pin it down, just figure out Who I Am, then I could … I don’t know what. Start? It was like I had to figure out which species I was so I could figure out in which ecosystem I could to live, or something.
I’ve lived enough now that I’ve been to see the folly in making sweeping declarations about Who and What I Am.
First, I know that there aren’t many things that I am consistently from minute to minute (the physical reality of my body aside; I think my body influences and is a vehicle for my identity, but I’m not sure it’s particularly part of my identity).
Next, I know that even the Big Things, the things that seem somehow fundamental, are subject to change.
A little more than a year ago, for example, I really wasn’t dealing with bipolar as part of my identity; I wasn’t working in that sphere. Now I am: I have realized that it’s useful to keep bipolar in my peripheral vision that way. Keeps it from sneaking up on me. Explains a lot. Not that long ago, though, it wasn’t a reality I even acknowledged.
So right now I’m sort of fumbling forward.
I’ve always been the kid that tests out an identity by trying on the clothes; I never thought of myself as A Cyclist until I put on some bike kit for the first time. Until then, I was just a guy who rode bikes.
Things work differently on the Looking Like A Dancer front.
First, how Looking Like A Dancer works is vague: I’ve become someone who gets that question rather a lot in non-dance contexts, “Are you a dancer?” — and I think I look like a dancer, even when I’m not wearing dance clothes, but I don’t know how to quantify that: what does look like a dancer even mean? Is it something about the way I move (okay, the habitually-resting-in-fourth-or-fifth-position thing is kind of a dead giveaway)? Is it the way I carry myself? Is it something else entirely, maybe something about my hair? (Maybe it’s my neck.)
But I know I didn’t really look like a dancer just over a year ago, and now I do — and I also think I look more like myself, for whatever that means.
About which — maybe what it means is that for the first time I’m kind of living from the inside out.
The space and the social role I occupy as a dancer, especially as a male ballet dancer, feels like the right ecosystem. Like I’m no longer trying to live in fresh water when I should be living in salt water, or in the mountains when I should be by the sea, or whatever. It’s a good fit.
I think that, for a long time, I was trying to live from the outside in: I would decide that since I clearly wasn’t that, I must be this, and I would proceed to attempt rebuilding myself in the prescribed image. But I guess I didn’t realize that’s what I was doing, because I felt like what I was trying to do was identify what I was, and live accordingly.
There’s a certain futility to that approach: I could tell myself all day long that I was a kestrel, and move into kestrel habitat, and learn to do the things that kestrels do — but if I was an osprey on t inside, I was still going to be an osprey.
Now I’m sort of taking the opposite approach: I’m doing things to see if they fit, and unceremoniously kicking them to the curb if they don’t. I don’t have to belong everywhere, or do everything, after all: nobody does. Besides, if we all live like kestrels, it’s going to get mighty crowded in Kestreltown.
For a long time I longed to dance the way an osprey longs to catch fish. Eventually, I did, and it was like coming home: I remembered what I’d been missing for so very long.
Fundamentally, I guess you could call this phenomenon “identity as descriptor,” as opposed to “identity as prescriptor,” which is kind of what I was doing before.
When we describe an osprey, we are talking about what it is and what it does, not what it must be and do. Ospreys gonna osp, even if we tell them they should kest. Osprey don’t care.

Bus parking? Please. It’s osprey parking now, buddy. Ospreys gonna osp.
“Osprey on a peg“. Licensed under Public Domain via Wikimedia Commons.
Since then, I’ve developed a habit of doing things because they feel like expressions of who I am, though I guess I mostly don’t think about it that explicitly. Instead, I think, “I want to try this.” Sometimes, though, I do explicitly ask myself, “Does this feel like part of me?” Sometimes I’m surprised by what doesn’t; sometimes, by what does.
Curiously, this seems to be working really well. My burning desire to pin down a sense of identity has abated: I’m just here, kind of being. It’s not really necessary to make statements to myself about Who And What I Am now that I’m living a life that fits better. Sometimes it’s useful to make those statements to other people, but I kind of think that other people mostly figure it out.
They can see by my outfit that I’m a dancer. Or, you know, a kinda femme queer boy (one that could still kick your teeth in if you push the wrong buttons, though I’m wrestling with that whole “nonviolence” thing).
Once upon a time, I would have thought that embracing the “femme queer boy” side of my personality would have meant eschewing the part that thrives on speed and danger. That’s prescriptive identification, though (or, really, proscriptive, just to make things even more confusion — “danger” is not my middle name, “confusion” is). I know now that it doesn’t work that way. Thank G-d it doesn’t work that way: I don’t have to be X and not Y; I can be X and Y.
The light reveals the shadow; the shadow reveals the light.
There’s probably a lot more to say about all this. Consider this a beginning.
And, while you’re at it, go read Peter S. Beagle’s excellent book, I See By My Outfit, which you can find used all over the internet. I am almost certain that you won’t regret it.
A Paltry Attempt To Explain
My heart’s broken open.
I change and I do not change:
The waves move, the molecules move;
The sea’s still the sea
And there is no sea.
I have seen all these things before:
But I see them now for the first time.
The sand and the wind build the shore,
But there is no shore.
The wing and the cry are the gull,
But there is no gull.
The stamp and the breath are the ox,
But there is no ox.
Breathing in, I am here in the world;
Breathing out, I am here in the world:
Breathing in, I am here,
Breathing out, the world.
Breathing in, I am not.
Breathing out.
Danseur Ignoble: If You Can Describe It, You Can (Eventually) Do It
Or, The Enabling Nature of Formal Ballet Vocabulary
For those who find foreign languages challenging (full disclosure: I don’t), entering into the world of ballet can be daunting.
Suddenly, you’re learning not only a new way of moving, but also a foreign language — one that sometimes conflicts with itself (Are my arms in third or fifth? …I don’t know, are we doing Vaganova, Paris Opera, or Cecceti today?).

I felt like this point needed an illustration, with apologies to photographer Fanny Schertzer, whose awesome photos from Prix de Lausanne can be found here:
“Zecheng Liang – Le Corsaire – Prix de Lausanne 2010” by Fanny Schertzer – Own work. Licensed under CC BY-SA 3.0 via Wikimedia Commons
and here:
“Mingyi Liang – Giselle, Prince Albrecht – Prix de Lausanne 2010-3” by Fanny Schertzer – Own work. Licensed under CC BY-SA 3.0 via Wikimedia Commons.
You have to memorize all these words (some of which already have more than one meaning in your normal, everyday language), and then you have to remember them and perform the corresponding actions in the right sequence when your teacher shoots a string of pidgin French at you at the end of class. And then you have to remember them again next class (which, in the beginning, often means “next week”) and probably learn some new ones.
On the other hand, with the exception of minor quibbles over whether one’s arms are in third or fifth (aided by the fact that every teacher and dance master in the history of ever pretty much automatically demonstrates which one they mean as they’re describing the combination — seriously, even if the rest of them is standing still, bras gonna port) and whether to say “B+” or “attitude a terre,” the upside of this whole conundrum is that in ballet, we understand each-other. (Well … Mostly.)
When someone says soubresaut, as long as you’ve learned soubresaut, you can do it.
When someone says pirouette en dehors a la seconde, once again, if you know what pirouette en dehors mean and you know what a la seconde means, you can figure out what’s intended — and, if you know you can execute both movements, you can probably even figure out how to do it. Maybe not well, at first, but learning is almost always a process of successive approximations of goal behavior (hooray for Applied Behavioral Analysis!). Chances are you looked kinda funny the first time you rode a bike, too. Dancers learn by doing.
Likewise, once you develop enough vocabulary, you can ask other dancers what the names of things are: “You know that thing that looks kind of like tour jete, only you’re kind of rotating around one leg that’s in attitude? What the heck is that called?” Of course, half the time, the name of the thing you’re looking for turns out to actually be “name of thing you already know” plus “a la seconde” or “in attitude” or “from fourth,” possibly with a modifier like “en dedans” or “en dehors” or “grande” or “petite.”
This doesn’t always work as well as it might: it took me, like, three separate searches to figure out what the “thing that looks kind of like tour jete, only you’re kind of rotating around one leg that’s in attitude” is called (ungracefully) a “barrel turn.” But almost everything else in ballet can be picked apart based on its technical name (and it’s possible that the so-called “barrel turn” — which, I’d like to point out, is neither a barrel, nor a turn, but is a jump that has a turn in it — has a technical name I just haven’t discovered).
I’ve been thinking about this quite a bit in the context of choreography (in part because my project for this summer will involve explaining choreography to people who may or may not have a firm grasp of ballet vocab: yes, I plan to impart the names of things, but that doesn’t mean people will remember them).
Like, ballet choreography is maybe a bit easier to transmit than modern dance choreography, given that we have a standardized vocabulary from which we work. Admittedly, that vocabulary can’t transmit style. Watch some video from NYCB, some from the Bolshoi, some from the UK’s Royal Ballet, and some from the Dutch school, and you’ll see that there can be enormous stylistic differences, some of which — a la NYCB — trace back ot a specific choreographer. However, the basic elements of a dance can be transmitted intact, down to the beat (or even half-beat; the “and” bears great importance in dance).
Curiously, while I have some modern dance background, I’m not really sure how this works in that context. Like, my modern dance teacher was awesome, and because of that we always knew what she was talking about: but “Down, down, UP, down!” means one thing when you’re doing that frog-jumpy thing and a totally different thing when you’re doing what’s essentially a series of plies with a saute in the mix.
Different seminal choreographers have developed different vocabularies. They tend to be descriptive, but description doesn’t necessarily convey intention as well as we’d like. “Slash” (perhaps a term no modern dance choreographer employs?) could mean a lot of different things.
To be fair, ballet has been around for hundreds of years at this point, and it developed a tradition of formal codification pretty early (being as it was founded upon strictly-regulated court dance). It seems possible, even probable, that as modern dance (which is, what, a little more than a hundred years old?) evolves, it too will develop a cross-school choreographic language (rather like the way music has evolved a language of its own; all musicians speak at least a little Italian and/or German).
It’s at least equally likely, though, that it won’t — the coherence that exists in ballet reflects its foundations. It has evolved divergently (hence “Are my arms in third or fifth?”) rather than convergently.
Anyway, this is one of the things I like about ballet: sometimes I don’t know the name of a movement, but I can look at it and figure out what its component parts are, and then figure out how to string them together (likewise, I can often infer the name of a movement in the same way; nobody had to tell me what pirouettes a la seconde were called). Sometimes I know the name of a movement but not what it looks like, but if the name reveals the component parts, I can figure it out.
In short, if I can describe it, I can eventually do it (even though I’m actually a kinaesthetic learner, and therefore more often move from doing to describing than vice-versa; I figured out saut de chat — one of the less-descriptive things — long before I knew what it was called; likewise foutte [again, not the “black swan” variety”]).
Unfortunately, that doesn’t really help me with the barrel turn. I can turn, but I can’t barrel. Or, well, I can barrel, but more in the context that means “speed wildly,” like “barreling down the hill.” So I’ll just have to learn that technique the old-fashioned way, through demonstration, attempt, falling on my ass, and repetition — in other words, successive approximations of the goal behavior.
But not just yet.
Quickie: Easy Mood Tracking
I have a really hard time with mood tracking.
First, I forget to do it. I’ve tried a few mood-tracking apps, but in order to remember to track, I’d need an app that would get all in-my-face about it. “Did you track your mood yet? How about now? Now? Okay, push this button RIGHT NOW and track your freaking mood, boy-o.” Likewise, I’d need a simple mood app: something that doesn’t ask for a lot of data, but just a basic rating on a single scale. Otherwise, I get overwhelmed when I’m depressed and can’t focus long enough to make the data make sense when I’m manic.
It’s possible there’s an app out there that works like that and I just haven’t discovered it yet. (Anyone found one? I’m all ears!)
For now, though, I’ve settled on an easy, fairly old-school approach: colored stickers.
I ordered a set of little dot stickers in 7 colors: in this case, blazing hot pink, then ROYGBV, instead of ROYGBIV proper. I like this set of colors: to blazing hot pink (even though I’m quite fond of it!) makes a perfectly fine indicator of the kind of dangerous mania I really don’t want to contemplate right now. The stickers are also transparent, so our appointments won’t be obscured when I stick them on.
I went with colors instead of faces or numbers because I don’t have to think about it at all. I just stick the one on that feels right.
The stickers will go on our wall calendar. It’s right in my face every day on the wall beside the bathroom door, so I think I should be able to remember to use it at least enough of the time to make it worth while.
Because my manias have more flavors than my depressions (which basically just seem to come in Bad and Worse), I’ll be using green as my midpoint marker; the “I’m in a pretty decent spot” marker. That leaves four flavors of mania and two flavors of depression. If I’m in between moods, I’ll just use two stickers on one day.
Today is a green day. First one I’ve had in quite a while. Reminds me of how utterly, absolutely important dancing is to managing my mood.
Anyway, here’s a link to the stickers I bought, in case you think this approach sounds useful for you:
I think you should also be able to find them locally, in office supply stores and what have you.
Ballet Squid Chronicles: In Which The Gauntlet Is Thrown Down; Dansuer Ignoble
This morning a friend of mine on Google Plus challenged me to make a ballet video à la Sergei Polunin. Being as I am a sucker for a good challenge and also in need of some intermediate-term motivation, I (of course) immediately accepted said challenge. I still need to put together an audition video anyway.
I’m assuming that everyone on the internet who is even remotely interested in ballet and/or in hot Russian guys has already seen the video in question, but just in case, here it is. You know, for informational purposes and stuff. Consider me, like, a handy reference librarian.
Obviously, I am not Mr. Polunin, and I doubt I’ll master the art of launching myself from a supine position on the floor into a gigantic flying cabriole OMFG any time soon o.O So my video isn’t going to be anywhere near as impressive. Just saying.
But it does give me an excuse to get organized and finishing whipping my butt into shape and use my time more effectively. I am really bad at handling time without external structure, and only doing class a couple times a week has thrown a huge monkey wrench in the gears of my ballet plans.
Like, I do this thing where I’m all, “Okay, I have five days this week that I’m not in ballet class, I should definitely work in some calisthenics on at least three of those days.”
So I get up on Tuesday morning and I’m like, “Hooray, I have all this time to do my embarrassing calisthenics before Denis comes home; I think I will clean up a bit and work on some homework.”
And then, being me, I get paranoid, so I start on the homework first.
And then suddenly it’s Saturday morning and I’m back in ballet class and I haven’t done a single freaking push-up all week (though I have at least gotten rather good about actually working in some crunches; I do them in the kitchen while I’m waiting for dishes to dry or whatever).
Somehow, the thought of creating a video that OMG PEOPLE MIGHT ACTUALLY SEE makes the need to, like, actually not slack off on the physical training end of things seem rather more pressing. In short, being stronger (in a targeted kind of way; just building muscle for the sake of building muscle can become counterproductive pretty quickly for dancers) makes dancing easier.
Right now, my other pressing motivators are Burning Man (which isn’t ’til August), the deadline for submitting an audition video to Columbia (December, 2015), and then a performance with the adult ballet program peeps and Sun King in 2016. Given my total inability to conceptualize time, even Burning Man might as well be some time next century. Like, I try to get my head around it: you know, it’s at the end of August, and here’s how many months that is, how many weeks, and here’s this other stuff I need to do between now and then — but actually that’s pretty meaningless to my brain. I can imagine space really easily; time? Not so much.
In other news, I am also an idiot.
It appears that I do, in fact, know how to do grand jeté en tournant, which is simply the full name for what we all call “tour jeté” (I feel like I should have already grokked this, but somehow I never made the connection until I heard someone mention “tour jetjeté” as an example of ballet shorthand).
I have, in fact, known how to do that since I was, like, seven or eight years old (it is my most favoritest leapy thing, because it looks impressive but it’s actually really easy). The thing I don’t know how to do is something else. I’m not sure what it’s called, so I’ll have to consult with Ballet Technique for the Male Dancer and also the whole freaking internet until I figure it out.
Might actually be some kind variation on grand jeté en tournant; there are a lot of things like that in ballet. Everything is basically a variation on something else, in the long run, since ballet essentially builds on a handful of basic elements: a single tour en l’air, for example, is basically just changement with a spin (QV: https://www.youtube.com/watch?v=BMjIzufr20Y); changement is just soubresaut with a change of feet; soubresaut is just sous-sous with a little more oomph; sous-sous is just fifth-position releve with everything pulled in tight.
And sous-sous is actually spelled sous-sus, and some day I will remember that.
In other other news, I feel that I’ve sort of graduated into the realm of vertebrates now, and it’s not entirely accurate to call myself a “ballet squid” anymore. I’m really not, which is surprising and startling and stuff. So I guess I will hereafter refer to myself as a “Danseur Ignoble,” which about sums up my plebeian condition in the world of ballet.
Kind of has a ring to it.
Ballet Squid Chronicles: Back to Monday Class Notes
Essentials tonight. Lovely, easy class: port de bras and épaulement hung together all through barre, full splits again, grand battement mostly sans barre, back to doing single-leg relevés on both sides. I was able to do our sous-sous-échappe exercise (also sans barre, because there’s really no excuse for using the barre for that at this point).
No jumps tonight, which is for the best. The calf is definitely just a touch sore, so jumps probably would’ve been a bridge too far. Little jumps and Sissones next week, I think (and whatever on the left leg). Temps levee, on the other hand, is at least two weeks out (on the right leg).
Across the floor we just did glissade-pas de bourree. Super easy, so I made an effort to make it look pretty (and succeeded, if I do say so myself).
Today was one of those interesting days on which I felt okay about my body throughout class. I’m still wrestling with being okay with my body. That’s going to be a long process for me.
Still, it does help when your turnout works, and your extensions are high, and your arms work, and you don’t dance like a squid on too much Ritalin. Then you can at least say to yourself, “Okay, so I can be grateful that my body is capable.”
For a long time I really struggled with that idea, because I thought that recognizing that was supposed to magically make the bad feelings go away, and when it didn’t it hurry and I resented it. (I also resented the heck out of the idea that people wanted to tell me how I should feel: and while I’m sure some of them actually did, a lot of people who have said, “… But it’s great that your body Works!” probably really didn’t intend that.)
It turns out that I’m not stuck forcing myself to only feel one or the other.
Instead, the dysphoric hurtiness and the gratitude can kind of coexist, like siblings in the back of the car, elbowing each-other now and then but also not killing each-other, which really kind of feels like a big deal, to be honest.
So the difficulty, the dysphoria that may or may not every go away, that’s still there, but I’ve reached a point at which I somehow simultaneously manage to be grateful for some stuff about my body (and not just my feet).
It doesn’t make the dysphoria not hurt, but it makes it less cognitively dissonant to sit with the dysphoria in the face of an emerging appreciation for what is rather an immense array of capability. I don’t know if I’m making any sense, here, because it’s such a weird, new idea for me (I’m sure that folks who are better-versed in dialectical behavior therapy are all like “Well, duuuh!” ;))
Okay. That’s enough trying-to-asplain for now.
Anyway, I plan to go home and RICE my leg and rest it well tomorrow. This coming week I have a bazillion things to do, including a doctor’s appointment to discuss meds. I will try to also get caught up on comment replies (which I’ve been handling kind of willy-nilly) and reading all the awesome blogs that you guys have shared with me and, I guess, also shared me with 😀
No Wednesday class this week.
G’night, everybody.
What You Can, When You Can
Bipolar disorder is hard to get your head around — hard for those of us living with it, and hard for those who share our lives; even harder for those who are only aware of the condition in a more distant way.
The very concept is tough for some people: they get hung up in the idea that people get depressed about something and in the idea that mania is like happiness on steroids (which it can be, but not always). Bipolar doesn’t work like that: depression isn’t sadness per se, though sadness may be a symptom of depression; mania sure as shizzle isn’t happiness, though sometimes it can feel like happiness for a little while.
Life stressors can trigger manic or depressive episodes, but so can stupid little stimuli — one too many lattés and a night out dancing followed by poor sleep; one too many pilsners on a night out with friends. One too many pilners on a night out is nothing to be sad about: but depression isn’t sadness. It’s brain chemistry.
Likewise, it’s easy to get hung up in conceptions about ability. We tend to think of people as either able or disabled, when in fact things are way more complex than that.
There are days that I’m immensely able (usually, those days happen on the upswing of a manic episode, before things really go haywire).
There are days when I’m absolutely and fundamentally disabled (at the top of a manic crest — I can’t concentrate long enough to get through anything in that state — or at the bottom of a depressive trough — during which I can neither summon the energy to begin anything nor concentrate long enough to follow through).
There are days that even making it ballet class — which functions as a central, organizing principle in my life — seems nearly impossible, and everything else (like eating food; like showering after ballet class) seems absolutely impossible.
There are even days that making it to ballet class seems impossible, though most of the time I manage anyway. Then there are the rare days on which making it to ballet class is impossible. In my case, disability is primarily a question of mental capacity: ballet does not require me to think, so I can pretty much always manage, provided I can figure out how to get out of bed and put clothes on and somehow physically get my body to the studio. Once I’m there, my brain doesn’t have to do any more work, or at least not the kind of work it finds difficult.
Then there are days like today: days when I seem to be shifting back into a more functional modality, but I’m far from 100%. Days on which some things are possible, and other things are not.
In the past, I’ve tended to regard days like this one with perhaps an undue level of optimism: I would start being more productive and immediately decide that everything was going to be okay. That I would magically grasp how to be an adult in a consistent, thoroughgoing way. That I was going to be Able, with a capital A, from now on. Forever.
Then, of course, the dizzying crash back into reduced ability would follow, and I would find myself shocked, like, How could this happen? How could Iletthis happen? Surely, if I was doing anything like managing my condition, I would magically be Able all the time!
Seeing it through that lens made coping with the rise and fall of my daily ability level a lot harder. It also made me a lot harder on myself.
The thing is, that’s now how this condition works. It’s like a lot of chronic conditions: there are good days and bad days. People with arthritis are more able on some days than on other days. People with Parkinson’s are more able on some days than on other days. People with MS are more able on some days than on other days. And so it goes. Same for bipolar disorder: some days are just better than other days, even when you’re managing the condition as well as you can in your own individual case.
I’m slowly learning to accept my immediate level of ability: to sort of live by this principle of “Do what you can, when you can.”
It’s frustrating sometimes. But when I’m frustrated with it, sometimes I can remind myself that even the most able people want to be able to do more; even they find it hard to say, “Meh, that’s good enough for today.”
It’s still hard, sometimes, to get from, Why the hell can’t I get anything done? to Hey, I got this one thing done, and that’s something. But being able to say that, even if I say it grudgingly, makes a difference.
So does the ability to understand that tomorrow I might not be as able: if I expect consistent ability, crushing disappointment is inevitable. If I expect fluctuations; if I expect to be wildly, amazingly able sometimes, and really very unable at other times, I can be okay with it. I may not be happy about it — but there’s a lot of ground between accepting a reality and being happy about it.
If I know that there will be fluctuations in my ability level, and plan my life accordingly, things are likely to go more smoothly. I can work on reducing the limitations in my life later, if opportunity arises (I’m not sure that it will, but that’s a post for another time). Pretending they’re not there hasn’t done any good.
Sometimes “I can do this thing” means write I can ten thousand words, fire off a blog post, finish a week’s worth of homework and an SI session plan, make a gourmet meal, and pay the bills.
Sometimes it means I can put on a shirt and whichever tights (yes, I run around the house in my ballet clothes about 99% of the time) are the least dirty, run a couple loads of laundry, and make hot dogs.
Sometimes it means crawling into the bathtub and staying there for two hours, reading and occasionally changing the water, and eventually ordering pizza from the internet.
Sometimes it means admitting that I’m essentially not going to make it out of bed, but that at least I’m still alive and breathing.
Sometimes it means admitting to someone that I don’t want to be alive and breathing anymore, and accepting whatever course of damage control is possible.
Where was I going with all this?
Our culture is hard on those of us who are not terribly able to be consistent, especially when the disabilities that underlie our inconsistencies are invisible. Last I checked, bipolar is pretty invisible (though I’m pretty sure that Denis can spot mania in me at a hundred paces).
Our lives are harder because our culture is hard on us.
For me, at this juncture in my life, the best strategy I’ve found is to learn to do what I can, when I can without being hard on myself about it.
This isn’t possible for everyone. It isn’t even possible for me all the time. I don’t think there’s anything wrong with finding a different strategy, or even no strategy. We all survive in the ways we are able to.
I’m writing this down because it’s working for me — writing it down so I’ll remember. If it’s helpful to someone else, that’s awesome.
It’s hard for me to imagine, right now, why things are worse when they’re worse (a lot of people have better insight than I do; I find it hard to imagine mental states when I’m not experiencing them). Why it’s so hard to do things when I’m less able; how I’ve let so many things slide. Being hard on myself about all that doesn’t help: I’m present enough right now, mentally, to know that I haven’t done any of this on purpose. To know that I’m not lazy or indifferent; that I just haven’t, for several weeks now, been terribly able. To know that I’m not as able right now as I’d like to be, and that’s fine.
If I can keep that in mind going forward, maybe I’ll beat myself up less.
And if there’s any one thing I think might be universally useful for those of us living with bipolar, it’s learning not to beat ourselves up. Other people do it enough.
So that’s that. Now this is one thing I’ve done today, and I’m off to try to do another thing. Maybe I will, and maybe I won’t, and either way, it’s okay.
I will do what I can, when I can.
Sane Thoughts on Cognitive Dissonance and Fitness Elitism from Weighty Matters
Yoni Freedhoff is a Canadian MD whose blog, Weighty Matters, touches on issues of health, fitness, some of the problems inherent in the typical North American diet, and related stuff. Sometimes I agree with him wholeheartedly, and sometimes I don’t, but I like his evidence-based approach to the questions at hand.
Today, he’s running an excellent guest post from one Jonathan Goodman on the problem of elitism in the fitness industry and the culture that surrounds it. Honestly, I wasn’t expecting much (too often, articles on the topic in question are disappointing), but Goodman both knows his stuff and knows how to do research (which, as a research nerd, touches my data-driven little heart!). He also knows how to string together a sentence, which doesn’t hurt.
I haven’t finished it yet, so it still could totally go off the rails — but really I think it’s probably worth a read if you’re interested in related topics.
Weighty Matters guest post: Why Has the Fitness Industry Become Elitist?
Val Caniparoli’s “A Cinderella Story” at Louisville Ballet
I’m going to keep this brief, because I’m soooooooo tired.
This was, simply put, a really surprisingly great show. Very different, very modern choreography; great music; awesome set design; excellent execution by the dancers — but the acting element was what really stole the show. (Also: Loved the wacko stepmother. She was brilliant!)
Dancers embodying their characters; playing with them; blurring the line between “dancer” and “actor” — that makes for great ballet storytelling. No awkward pantomime. One rather hilarious allusion to Swan Lake.
Enjoyed immensely; highly recommended. Did cabrioles all the way to the car (but only on the left leg!).
If you can go see it, do!
One caveat: some younger kids (and some less creative adults) may not groove on the very abstract storytelling approach. Our nephew (who turned 7 in January) really enjoyed some scenes, but a lot of it went right over his head. However, dance-mad kids with some ballet training will either love it (if they love dance, period) or haaaate it (if they’re classical ballet purists).



