Author Archives: asher

Crazy Post-Adolescent Ballet Obsession: Reflections on Almost One Year as a Ballet Squid

I am convinced that there are basically only two flavors of adult* ballet students.

*I’m using this term loosely, here — at least as regards myself.

There are those like Denis — people who go to class once a week or so, enjoy it, and even develop an extensive ballet-specific vocabulary.

People who like to watch ballet, who enjoy being around dancers, who can even carry on conversations with dancers without going all glassy-eyed at the third or fourth mention of some obscure ballet term or yet another vivid description of some random dancer’s feet. People who like ballet, dance a little, and yet somehow just float along on the surface of the roiling tide that is our chosen medium.

…And then there are the rest of us.

You know who you are. (Ahem. Hi! :::waves enthusiastically:::) Those of us who cram as many classes as we can find into our schedules, purchase untold lengths of high-powered elastic with which to strengthen our feet, and practice adagio in the kitchen as we baste the roast. Those who understand what it means to crack an ankle on the dishwasher while attempting turns a la seconde (also in the kitchen).

Those who understand that the kitchen is simply where one practices turns. And adagio. But not allegro, unless the kitchen is also really big.

Those of us who find ourselves possessed of twenty-three tennis balls, even though we don’t play tennis (probably bad for the turnout), because we bought one to roll out a kink in a leg muscle, and then the cat made off with it, so we got another, which the cat also stole, and so forth.

Those of us who have collected six pairs of demi-pointe slippers in an undying quest to find the perfect ones for our particular, unique feet (or out of simple, obsession-driven avarice; also completely valid). Those of us who can identify, among our apparently-infinite arrays of highly-similar tights, not only which are the best ones, but why — and who will simultaneously weep and take up arms if ever their manufacturers stop making them.

Those of us who can intelligently discuss the problems unique to dance belts or pointe shoes.

Those of us who automatically make up choreography in our heads whenever we hear music, including video game music**.

**Yesterday, we were babysitting our nephew while awaiting the call to come welcome our new niece to the world (the fact that this post is entirely about ballet obsession theory, and not about having a brand-new relative, should tell you something), I found myself making up little-jumps combinations to video game music — you know, changement-changement-changement-changement-echappee-changement-changement-changement and so on). Part of me thought, “I am awesome!” Another part thought, “Ye gods, what have I become?”

Those of us who take up ballet with an off-hand comment about how it can’t possibly be more expensive than racing bikes, and then later realize that we dare not even breathe aloud the sum total of the year’s ballet budget***.

***”It’s still cheaper than therapy,” we might argue — if by “therapy” we mean full-scale, long-term retreat-from-the-world style therapy at a posh Mediterranean spa on a fabulous island. Or, at any rate, it’s cheaper than buying an island. Maybe. In fact, let’s not do that math.

Those of us who — explicably or inexplicably, either because we danced as kids or because we never danced as kids, either because we always wanted to dance or because we never thought of it until one day we stumbled into a free class and then … well, you know the rest of the story by now — find ourselves utterly subsumed by the aforementioned roiling tide, upon which our arguably more mentally-balanced friends float with such ease.

My completely unscientific survey of my fellow adult ballet students suggest that the former group — the Denises of the adult ballet community — are in the minority. I am left with the impression that ballet, perhaps by its very nature, either demands or creates unstinting**** dedication. This may be partly because I follow the blogs of other ballet-mad individuals and take my classes at a pre-pro school with a pretty demanding teaching staff, but I suspect that it’s mostly the truth.

****Or, at least, unstinting within the constraints of budgetary realities.

I think that, like cycling, ballet asks a lot of those who participate. New students filter in and either get swept away on the tide or filter out again after a while. Once in a while, someone like Denis manages to stick around without becoming completely obsessed, but anyone who happens in hoping primarily for a social outlet probably tends to happen right back out again.

Ballet (again, like cycling) is at once social and unsocial. It is a near-universal rule that dancers go to class, and that classes should be made up of several dancers at least; the nature of the form demands a group. However, we don’t socialize in class. We might chat in the hallway before class. We might grab a bite to eat after. We might throw out an occasional off-hand comment (there are days that I’m that guy in class; the one sometimes can’t repress the urge to make some random comment that helps him remember something: “So, no gorilla arms?”) or an eyeroll or a snippet of banter across the barre.

We direct respectful questions at our teachers; we listen to and absorb their instructions; we occasionally trade high fives.

We do not talk: not in the sense of carrying on meaningful verbal exchanges (or meaningless ones; nothing wrong with just shooting the breeze, if you have that skill). We are not treadmill buddies (not that there’s anything wrong with treadmill buddies!): we are dancers.

We come to work*****.

*****And that’s what we call it: work. As in: “I was working at the barre, and…” To be honest, to call it anything less would misrepresent not only the sheer physical effort required but also the religious dedication we bring to the studio (even those of us who joke about gorilla arms).

We come, in a sense, to worship: the instructor, perhaps, is our hierophant, interpreting the sacred mysteries, conferring them upon each class of willing acolytes.

In short: I feel like ballet deserves devotion. Part of me recognizes that becoming so fundamentally obsessed with something like dancing is outside the realm of typical adult experience (kids, however, do it all the time) — but, as Denis says, “Average was never the goal.”

As for me, almost a year after I finally goaded myself back into the studio, I’m glad I’ve become one of the ballet-mad throng.

Dancing has given shape to my life in a way that I didn’t expect: I didn’t particularly expect it to lead me to a career path, let alone one that I’m champing at the bit to undertake. I didn’t particularly expect it to eclipse cycling as an organizing force (in fact, I rather naively expected to continue racing bikes from time to time! Ha!). I didn’t expect to restructure my life, my eating habits, and ultimately my body in service of some art form in which I may or may not ever find an opportunity to perform before an audience******.

******Who am I kidding? If I can’t find an opportunity, I’ll make one.

I write this all in an attempt to better understand, for example, why it seems so bleeding important to perfect my petite allegro, to acquire a decent set of exercise bands for my feet (I had a green one; it did not survive), to Do All The Classes!

Call it part navel-gazing and part homage to the beloved.

There you have it, though: I am happy to be obsessed. Glad that I have given up my life to the harsh mistress called ballet. Also not remotely embarrassed to be seen in public in tight and legwarmers, though it’s not like I was before (because cycling).

I have been back in the studio for almost a year, I am hopelessly obsessed, and I am the better for it.

~~~~~

In other news: I am officially going to the Big Burn this year. Yaaaaaaaaaaaaaay!

Tickets are purchased (as members of an official theme camp, we were able to buy tickets through the Directed Group Sale). Thus, it looks like my choreography project is a go (See? Performance opportunity made!).

So now I need to settle down, really finally finalize the choreographic framework, write it down, and start looking for other Burner-Dancers (or at least Burners who would like to try to dance; the goal is to make most of this choreography simple enough that we can teach it to raw novices).

So that’s what’s what today. I’m hoping to squeeze in an extra class this week on Friday (yes, my inner Obsessed Ballet Zombie just howled, “IT SHOULDN’T BE EXTRA!!!!!! THAT’S SUPPOSED TO BE PART OF THE SCHEDULE!!!!!!!!”).

Now … where’d I put that tennis ball?

Ballet Squid Chronicles: Monday Class with Brian!

Claire is away on a secret mission (to know, to will, to dare, to not blab your favourite teachers’ ambitions all over the place!) elsewhere this week, so Brian (AKA Professional Dance Guy) taught class tonight, and it was a blast.

He gives a very good class — athletic but not exhausting, challenging but well within reach.  

I mostly didn’t hose up his barre; I promenaded without any dramanade; I did some pretty-ish turns (and some turrible ones); I didn’t forget any combinations going across the floor (though I did count wrong a couple of times; how hard is it to count to 16?  Seriously!).

Many of today’s improvements were the direct result of the sole me-specific correction of the day.   Brian was walking around correcting people who were getting slouchy at the barre, and suddenly he walked up to me, grabbed me by the waist,  and pronounced “Not you, too!”

It was definitely more a command than a comment: but up til that moment I thought I was pulled up.  (To be fair, I started out pretty well, but then apparently I got sloppy without noticing it.)

Oddly enough, it turns out that feeling pulled up isn’t the same thing as being pulled up.   And, strangely enough, being really pulled up makes you dance more gracefully… and makes your turns better, and makes your dramanades turn back into promenades.

This was especially important because we did our promenades en dehors, which is harder than doing them en dedans (though we were doing them at passé, which is easier than doing the Swan-Lake-arabesque-extended-cut promenades no matter which way you turn).

Apparently I feed off physical corrections: every few minutes I would feel Brian’s hands on my waist again, like a mental-physical reminder: Are you pulled up?   Oh, yeah?   Really?

My calf got a bit sore by the end of class, so my final petite allegro combination looked a little lame (literally), but other than that I felt pretty good about myself today.  I’m starting to make progress again.

I’m also doing all my physical therapy exercises like a good boy and trying to eat enough food even though my appetite has kind of died again.  I am not worrying about it now, though: it seems to do this from time to time, and I am still not at a point where it would be dangerous to shed some weight.  

If I get there, then I’ll worry.  Otherwise, I’ll just try to remember to eat enough even when I’m not feeling hungry.   This is part of why I still track my diet religiously.

Okay, so that’s it for tonight.  It’s nice to finish class feeling excited about making progress again!

Ballet Squid Chronicles: On Poor Choices and Owning Them

A while ago, I wrote about returning to class after my extended winter break (link to come).  Among other things,  I said that I felt like a pudgy dancer.

I realized at the time that “pudgy” was the wrong word for a number of reasons.

First,  it wasn’t the word I wanted, and didn’t actually convey the concept I hoped to express, but I wracked my brain and couldn’t come up with the word I knew I was looking for.   Like autocorrupt on crack, my brain kept suggesting “pudgy.”  Finally, I gave up and used it.   Twice.

Second, it’s a loaded word.   Like “chubby,” it’s one of those words that means “adorably chunky” when we’re describing puppies or baby elephants or cartoon orcas or toddlers or what have you, but something else entirely when applied to human adults (never mind that some of us,  myself included, like how “pudgy” looks on other people; I married a slim guy, but I’ve always preferred big guys — pudgy guys, in fact).  So it’s a word that implies a kind of judgment I try not to make, and also reveals the double standard by which I judge myself.  “Pudgy,” in short,  is a word that can hurt.

Third, the dance world is full of implicit (and, sometimes, explicit) judgments about body size.   I’ve written about this a couple of times (again, links to follow).   I try not to participate in this particular hegemony: I think dancers of all sizes can be beautiful.  That doesn’t mean I’m not affected by it,  though.  I am both human enough to admit that I  do experience reflexive moments of size-ist thinking, and to say that those moments are often concurrent with their opposites: one part of my mind will be thinking, “Wow, that one dude in the corps is pretty hefty,” while another part of thinks, “He looks really great up there.” 

The difference is that the first of these thoughts is a conditioned reflex; the second is a feeling.   So while my conditioned thoughts — the ones influenced by cultural dictates — are busy being jerks, my actual gut feelings are appreciating what I’m seeing.   It’s weird, uncomfortable, and cognitively dissonant.

And when I use words like “pudgy” in contexts where they mean something bad (in this case, the word I really wanted was “clumsy”), I reinforce the cultural dictate that says dancers need to be shaped a certain way — even if that’s not what I believe, feel, or mean to convey.

Even if I really genuinely believe (and I do) that dancers actually need to be shaped all kinds of ways, my intentions don’t matter in a static context that doesn’t convey them.  What matters is what I actually write.

Lastly, there’s a part of me that still genuinely believes that everyone else can be great and look great at whatever size but I need to be, in a word, skinny.  That voice is always there.   It was there when my BMI was 14.5.  It was there when my BMI was 30.  It is still there now, when my BMI is 24.

Every time I make a disparaging remark about my own weight, I reinforce that voice.  Yes, I need to talk about that voice, and to acknowledge what it says (ignoring it sure as heck doesn’t make it go away) — but I need to do so in a way that reduces, rather than increases, its power.

I need to do that for me, and I need to do that for everyone else who has that voice (which, to a greater or lesser degree, is everyone).

~~~

I thought long and hard about whether to write this at all.  I’m just going to go ahead and admit that, in short, I was debating whether or not to stick my head in the sand and hope nobody noticed my apparent act of woeful hypocrisy.

I was being a coward, but I guess I was also thinking about what I said (“pudgy”) and why (because my language co-processor was on the fritz, but also probably because I was having a exceptionally poor body image day) and what to write about it (this, it turns out).

I’m glad I did: that is to say, glad I tool some time to think about it, and also glad I took some time to write about it.

If my choice of words hurt you, please know that I’m sorry.   Nobody deserves to be hurt (except maybe masochists who have been really good and done all their chores ;)).  And I guess I should apologize to myself as well, because I am a dick to myself way too often.

For what it’s worth, I really do mean what I say: there’s room in dance for all kinds of bodies, all colors and sizes and shapes and abilities.   All of those different bodies are valid and valuable — and just as painters have expanded their palettes as new media have emerged, it behooves those of us with choreographic ambitions to expand our palettes to include all kinds of bodies (“Oh, brave new world that has such creatures in it!”).

I’m hoping that,  having written this, I’ll think of more to say on the topic.   For now, this is it. 

Go forth and be pudgy and proud, or svelte and sublime, or medium and miraculous: no matter your shape, dancers of the world, the things your bodies can do are amazing.

I Am A Terrible Patient, Or, Perhaps I Should Get Serious About Ballet Conditioning

It turns out I did strain a muscle in my calf.  It was only mildly sore after class yesterday, but was pretty painful by the time the opera ended.  I got Denis to look at it this morning; he was able to diagnosed the problem and suggest a treatment plan.

I don’t have to stop dancing or anything.  I just need to do some physical therapy stuff to get it back up to speed (pointed-toe leg curls and extensions with ankle weights, basically).

I still need to work on my shoulder as well. 

I am a terrible physio patient.   It’s not that I don’t want to do my exercises; it’s that I can’t seem to remember.   I’m also afraid of doing them wrong, so then I don’t want to do them when Denis isn’t home to supervise, but I’m also afraid to do them when he is home because I might be “doin’ it rong*.”  

That’s just silly.  Denis isn’t going to yell at me if I do it wrong; he’ll just correct my technique and move on.

I’ve realized that I probably need to put together a more formal physical conditioning program; maybe join a class or something**.  I’m lucky to have a body that adapts readily to physical challenges, but I’m also asking a lot of it. 
I’ve realized that over the break I lost a lot of strength and also managed to decondition my feet: the strain in my right leg is almost certainly the result of jumping back into a class that my body has deconditioned too much to handle (to be fair, the cold weather probably didn’t help).

I tend to forget that I’m human and that for most of the time I danced as a kid, I was also taking on some really helpful conditioning in the form of gymnastics training; likewise, in high school, even the non-major classes in dance were like two hours each day, with a big chunk devoted to physical conditioning.  I wasn’t just miraculously able to do amazing stuff with my body without injury; I was actively participating in a conditioning program designed to maximize performance while minimizing injury.

I’ve been wary of taking on strength training or whatever because I’m afraid I’ll wind up work my body in ways that are counterproductive for me as a dancer.   I suppose the answer is to maybe make a couple of appointments with a knowledgeable physical trainer who can help me figure out how to get my crap together.  My birthday is coming up, so maybe I’ll mention that to Denis.   Then again, he might even be equipped to help me develop a suitable training program (the knowledge-bases of physiotherapists and physical trainers do overlap to some extent).

In short, a sound physical training program built around the demands of ballet will make me a better dancer and will also reduce the likelihood of injury, which will in turn allow me to keep doing stuff I’m good at (like grand battement, petite allegro, and apparently chaines) and make sure I don’t spend too much time doing one of the things I’m worst at (being a patient).

Notes
*True Story: teh Googs knows me too well o.O  I Googled physical therapy ur doing it rong” in hope of finding a ready-made meme; instead, the first hit was an article from Dance magazine about how dancers land themselves in PT and what physios say we’re doing wrong o.O
**I realized after writing this that “a class” would probably have to be taught by a trainer familiar with the unique demands that ballet makes on the body.  Like, I need to get stronger without reducing range of motion anywhere, and I particularly need to keep from compromising my turnout.

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.