Category Archives: adulting
Right now, I think it’s fairly safe to say that we’re all a bit lost in the woods; a little at sea.
Like, all of us. The whole planet.
We didn’t really know this thing was coming, and now it’s here.
You can prepare all you like for the possibility of some global … I guess disaster is the word; it’s not the word I want, but it’s the only one that to mind. It’s a slow-moving disaster, I guess.
Anyway, you can prepare all you like, but the reality of living in it—the experience of living in it—can’t be anticipated. You can have all the stuff you need to survive and enough to help your neighbors survive, but even that can’t mitigate the shock of the sudden and utter shift, the change when the thing finally comes.
We are, whether we realize it or not, creatures of habit. When we suddenly find ourselves obliged to upend the entire normal course of our days, we kind of derail a bit.
So that’s where I am: derailing a bit, but trying to learn how to drive my train without its track. Trying to figure out which way is up. Trying to orient towards the sun and get my feet under me.
You would think that as someone whose career is inherently cyclical, with long periods of down-time, I would be more okay with this than I am.
I certainly thought that. I was like, “Yeah, it sucks that our season is over early, and that we never got to do our closing show, but it’s only a month early, really, and we’re okay financially.”
But, really, I thrive on order and ritual, and apparently the ritual for changing gears into summer mode is the last show.
Likewise, “summer mode” usually means I still go to class. It’s easy for me to forget that the thing that keeps my brain on the level is the daily litany of movement. It’s a startling surprise to remember how easily and how quickly things begin to become unbalanced.
The first week of this, D and I were in the middle of finally replacing the Camry—originally with the Electric Jellybean, but since that didn’t work out (the battery wasn’t up to D’s commute), eventually with VW Jetta TDI. That made planning my days difficult for me, so I didn’t dive feet-first into the array of ballet classes available by streaming.
Between the mental stress of the Emerging New Normal and the lack of sufficient physical exercise, my sleep quality and quantity took a nosedive.
Because the rhythm of my day was just plain gone, I kept forgetting to take my Adderall. That meant my brain was … Less able to adjust, shall we say.
Over the past several days, I slowly realized that I was starting to slip, and that it was time to do something about it. I started taking a sleeping pill early each evening in hope of getting some solid sleep.
Last night, it finally worked. I slept until 9:30 today and woke up feeling … if not bright-eyed and bushy-tailed, at least, like, eyed and tailed. You know. Basically equipped to more or less function.
I remembered to make myself a cup of coffee: it’s become part of my morning ritual, and one that I enjoy. It helps my brain know that there’s a day happening and we’re going to go do the things. I remembered to take my Adderall.
I’m late getting started, but once I finish this coffee and this post I’m going to go take class … albeit, in my living room, and probably in socks. When I’m done with that, I’ll do my assignment for the company, because I’d like to still have a job when the current storm blows itself out.
I’m not going to sermonize or tell anyone how to handle this crisis. We’re all grieving, and grief is a deeply individual process.
Nor am I going to confidently assert that I’ve got this handled, now: I’ve only got this present moment handled, and if things start to derail again, I’m going to try to give myself in una poca de gracia, as the song says.
- The song, of course, is La Bamba, which arguably has nothing to do with any of this … Except doesn’t the line, “To dance the Bamba, it’s necessary to have a little grace,” rather beautifully describe how to cope with a sea-change like this one?
- Dancing, after all, is just falling and catching yourself, over and over, until it looks beautiful.
I’m going to remember the tools I’ve learned to use over the past few years. I’m going to:
- do two things
- grant myself grace
- take my Adderall
- and last, but not least, take class.
Going forward, I’m sure I’ll make some mistakes. That’s okay. We humans are makers of mistakes, but also makers of magic and music and beauty and art.
We’ll get through this, and we’ll find north again.
And until then, we’ll stay home and remember to wash our hands.
Oh, and since I wouldn’t be me without a little irreverent humor, here:
If you’ve been around long enough, you’ll know that I don’t write about current events that much. I figure there are enough people out there who are better at that than I am, and thus I mostly stick to writing about ballet.
But today I’ma write about Coronavirus … again.
I’m in a weird place with this thing. On the one hand, I’m healthy AF, young, and on the surface I look a lot like someone who could easily be walking around like, “Eh, I don’t need to worry about this that much.”
On the other hand, my respiratory system—which at the moment, knock wood, is only mildly annoyed about the horror that is tree pollen—is a gigantic baby that freaks out completely at the least possible provocation.
Like, I’ve had pneumonia five times.
I can’t even tell you how many times I’ve had bronchitis.
Ordinary ‘flu knocks me flat for 2 weeks, minimum (this is why I get flu shots, y’all … well, that and herd immunity).
And every novel respiratory illness that comes down the pike carries with it the potential for serious career setbacks or worse.
I’m not a chronically ill person who *feels* sick most of the time. I’m a chronically ill person person who feels great most of the time, with occasional bouts of shattering illmess, some of which are terrifying.
So right now I’m walking around in the world (or, well, in my house, mostly) with part of my brain not even really thinking about this whole COVID-19 sitch, and another part occasionally going, “F**k, what if someone brings it to D’s work?”
D, btw, works in healthcare. He’s a physio, but currently works in a nursing and rehab facility, so there’s a real chance that such a thing could happen.
This doesn’t mean that I’m constantly panicking, or indeed panicking at all. Panicking won’t help. But it does mean that I’m using a lot of energy talking to my brain, trying to remind it that we have plans and stuff for things like this. That sometimes bad things happen no matter how well you plan, and that we need to stay rooted in the here and now because panicking now won’t help if something does happen.
And though it’s mostly working, my head is still in a weird place sometimes.
Anyway, life is uncertain, and the only constant is change. I’m not the best at actually practicing Zen, but I do find that even if the tools are a little rusty because you keep forgetting to actually use them, they’re still there in the garden shed when you need them, and rusty tools are better than none.
So, anyway, that helps with the cognitive dissonance a bit, as does giving myself room to feel uncomfortable.
Such is the weirdness of this mental place that it’s very hard to write about.
Also, I’m super tired, so I’m going to close here for now.
Oh: we also bought an electric jellybean—I mean, a Nissan Leaf 😊 It’s actually quite lovely and the interior is very roomy (you could fit about 5 dancers in it and still have room for a large dog behind the rear seat). I quite like it. This one’s a 2013, so the range is pretty decent. D plans to use it as his main commuter, since he works close enough to be well in range and can charge it at work. It’s a cute little car and comfortable to ride in.
The process of becoming an artist isn’t that complicated. You do art. You are an artist.
The process of learning to see yourself as an artist, on the other hand, comprises an apparently-endless array of subtle layers.
(I’m not sure if it’s an onion or a lotus blossom: like, its roots definitely reach down into the muck of life, but sometimes it makes you cry, so…? Whatever. It can be both.)
Tonight, after closing A Midsummer Night’s Dream with a show that felt like the strongest in my career to date, I had this moment in which I was thinking about something related to work, and it didn’t even occur to me to feel a sense of disbelief, or like I’m not worthy, or anything. I was just thinking about a work thing: a piece to add to the puzzle to make me better at my job.
Only later did it even occur to me to think, “Hey, that’s cool, that my imposter syndrome didn’t even get a look in.”
Every now and then I think back to a conversation I had a few years ago with my friend BB—one in which she said, “…You have your [ballet] career to think about,” back before I was at all certain that any such thing was really going to materialize. At the time, I felt like I should, like, cross my fingers or something. Somehow signal that I wanted it to be true, but maybe didn’t quite think it was.
And yet, here I am.
I’m sure I’ve written before about this process, but I’m equally sure that, a year ago, I wouldn’t have believed I’d be quite as blasé about it as I am now, in part because a year ago I wasn’t sure I’d ever be doing the things I’m doing now.
I’m lucky to have friends who can see things more clearly, and whose words have helped immensely in the moments in which this has all seemed the most unreal.
Their belief has helped to form the foundation of my own, like a builder’s forms shape the concrete walls in a building’s basement.
They helped me believe—even believed for me—so I could do a thing that is almost absurdly unlikely. And the longer I do it, the stronger my own belief becomes.
So this is me, now. I’ve begun, bit by bit, to feel that I have something to offer to my chosen profession.
I’m not sure yet what that thing is, or how to define it. I think that’s harder to do in ballet than in a lot of artforms … like, in ballet, as a dancer, you’re both artist and medium, and another artist is generally responsible for using the pallette of dancers on hand to create work.
You don’t always know what it is that you, specifically, bring to the easel. You don’t know whether you’re magenta or cobalt or red ochre to the choreographer or AD who selects you.
But it doesn’t really matter to me. My goal is to be serviceable: to be a serviceable dancer, one who is good enough to be a credit to the artform and to honor its history. Anything more than that is a bonus.
There’s still a lot I have to learn; a reasonable smattering of holes I need to fill before I can feel like I’ve really got enough of the toolkit to be a whole package—but I’m learning those things, and I’m filling those holes.
Speaking of which: my Petit Allegro is improving again. The keys, for me, are always:
- …keep your legs under you (in other words, constrain your travel, no matter how much you love to travel)
- think about the *down* and the *up* will take care of itself.
So that’s it for now. Or, well … One last thing.
I hope that becoming comfortable with the mere fact of my existence as an actual professional dancer will never make me less grateful for it.
If it does, you can come to dinner with me and kick me under the table as a reminder or something.
Four of these run less than $4 at Aldi.
Coupled with a tortilla or flatbread, one of them makes a nice utensil-free main course at lunch. You can dump the chicken salad straight onto the tortilla and then use the edge of the tortilla to scoop out any that doesn’t dump.
I would say my goal is to eat a healthy, balanced lunch, but really right now it’s just to shove enough food in my face so I don’t eat everything that holds still long enough when I get home (I’m not currently feeling epic salads, for some reason).
So there you go. These and a pack of Aldi’s flatbreads gets you a decent main course for less than $2/lunch. Add Greek yogurt (low sugar for me; too much and I’ll be cranky an hour later) and maybe some store-brand Grape Nuts and you’ve got a decent, inexpensive meal to get you through the afternoon.
As it often does, New Year’s Eve crept up on me, then pounced 😅 So, erm, happy New Year. And, whilst very technically the new decade really begins NEXT year, since the current default Western calendar has no Year 0, Happy New Decade anyway.
I’ve been cleaning a bit, playing Sims 4, eating everything, and generally being a lazy schmuck.
This is simultaneously the privilege and the punishment of being a dancer on a company break.
On one hand, all the dance things are closed, so you have time to lie around and do nothing. Huzzah! On the other hand, all the dance things are closed, so you have time to lie around and do nothing. Oof.
I’m sure I’ll regret my general sloth on Tuesday when we get back to class. On the other hand, it’s good for the body to have a chance to rest and recover sometimes.
I did finally bite the bullet and purchase a new (to me) laptop. It cost $177 including taxes, which was most of my savings … hi ho, the theatrical life, as my friend RK always says.
It was time. My old laptop is still going, but ay caramba, it takes like 16 million years to do anything. The old machine will be getting an overhaul and becoming a Chromebook, while the new machine will be traveling to and from Lexington with me, as I’m hoping to pick up some light side gigs that I can do online, since Summer Is Coming, and with it…
…It’s on that page, I swear. You have to scroll alllllllll the way almost to the bottom 🤷 (WRT MBB: It’s annoying that a program with such solid technical instruction still refers to itself as a “health and wellness initiative,” but whatever works, I guess?)
I’m going to that one even though I have to pay for it, when I can go to my own company’s for free. Which I’ll try to do this year, though I have work lined up as well, so it’ll depend on scheduling. I have a couple others, including Dancing Wheels, in my sights as well.
I may or may not go to an audition on Sunday. The upside is that it’s for a local company. The downside would be logistical—if I make it, it would mean commuting back to Louisville for rehearsals, which might be too much, what with teaching, CirqueLouis, Spring Collection, etc. I don’t know.
In short, I know I won’t turn down an offer of work, but I think I probably shouldn’t take anything else on right now that requires my physical presence and more commuting. On the other hand, I haven’t yet looked at the details, and if rehearsals don’t start ’til, like, March, it could be doable. Idk.
It’s also time to ponder Burning Man things. Last year’s Burn was both hella fun and transformative, but A] it’s expensive (though not as expensive as people think—any vacation is expensive to us, right now) and B] last summer I overcommitted like crazy and didn’t really get any time to decompress.
Really, I guess I need to get a sense of how my summer’s going to look, then move ahead from there.
So, yeah. I hope 2020 takes you to bed and exciting places, or steeps you in the comfort of familiar and restful ones, according to your needs.
Oh, and one last wee thing: here’s a shot from a wee project Dot and I have launched:
Have you ever seen the entrance to the Kingdom of the Shades (from La Bayadere, one of the “White Ballets” of the classical cannon)? Or the first breathtaking appearance of the swans in a large-scale production of Swan Lake? Or the Snow scene from Nutcracker?
I mean, that’s probably a given. You’re reading this blog, and that means you have internet access and are probably at least a little bit interested in ballet, so that means you can at least watch them on YouTube, probably. (If you came via one of my bike posts, hi! and I’ve got a couple for you, too: a big group ride sweeping around a corner or a tight paceline swapping pulls).
These are some of the best-known scenes in ballet, and with good reason: they display the fundamental truth that there’s immense power in a group of individual people working together.
The entrance of the Shades might be the keenest example.
The dancers enter one by one, in a long line that will eventually double back on itself. They perform the same simple (not easy: simple), repetitive phrase over and over: arabesque (penché, in most versions), temps lié to posé tendu devant, step step, repeat.
They are not massed in a cloud, as the corps so often is. They are not aggregated in attractive little clusters, or in coruscating diagonals, or in opposing echelons. At least, not at first.
Instead, each of the Shades is essentially alone—and yet she’s also part of a whole.
The repeating phrase is nice enough on its own, but nothing you’d necessarily be transfixed by for minutes on end (or, indeed, for one minute on end, unless you’re busily analyzing technique, I guess).
The repeating phrase performed by an ever-lengthening (and eventually redoubling) line of dancers, on the other hand, is mesmerizing. It’s kaleidoscopic.
It evokes an ethereal, otherworldly atmosphere even (or perhaps most effectively) when performed against a plain backdrop, with no set except a ramp upon which the advancing shades descend.
This simple phrase, without a single iota of elaboration, becomes a symphony. But it only works if the dancers stay together.
Indeed, it works because the dancers stay together.
At the height of the sequence, the redoubled chain of dancers (still executing the same phrase on the same leg) becomes … Oh, I don’t know: a restless sea; a moonlit, windblown fog racketing between two unseen hills; the very breath of the audience.
Choose whichever metaphor suits you: either way, it becomes one thing; one thing made up of a staggering array of smaller things.
But only if the dancers stay together.
This is where I am in my life. I spent so much of my life standing apart that I came to believe, on some level, that it was somehow better.
Participate, I thought, but don’t join.
Or, join, but not because it’s inherently good to be part of something.
Join because it’s how this thing works: but retain a measure of reserve about the very idea of joining. Remain aloof.
If you remain aloof, the unacknowledged subtext would have read, you can’t be caught off guard and hurt when, inevitably, you’re rejected. (Lessons learned in childhood die hard. When enough people have told you, no one really likes you and no one will ever like you, you come to believe it.)
And yet, as the company has transformed into a place where I feel welcome, bit by bit I find that I want to belong.
That the more I begin to feel that I want to be part of this group—that I like the people in it and the group itself and not just the work we’re doing together—the better I actually seem to dance.
When bikes were my life, I loved—loved—the incomparable symbiotic feeling of sweeping around a curve in a flock of bikes traveling at speed.
As a singer, I have always loved choral harmonies more than anything.
Even as a dancer, I love those moments of pure synchrony, especially in grand allegro (here are four separate bodies flinging themselves violently through space, and yet we are one thing because we are all doing this together!) or in partnering (the best moments, for me, are the ones in which each move seems to flow logically, even inevitably, from the last).
Why, then, am I still surprised to want to be part of something—to want, dare we breathe the word, to belong?
Ironically, I know I shouldn’t be surprised (my aloof, proud, defensive side feels downright affronted: “Of course I know that, man, what are you trying to say?!” …. to be surprised is to be less than omniscient; is to be vulnerable). Humans are social animals, and though I’m not always great at being a human, I am one anyway. Neurologically speaking, even I am wired for belonging.
Of course I want to be part of something, even if the something in question is so obscure that a great many people literally don’t understand that it exists.
(Seriously: there are a lot of people, right here in the First World, who have no idea that a professional ballet company is a thing; that we don’t just clean out the barn, rehearse a couple of times after work, and set up ticket sales).
But it surprises me anyway.
Not least, the knock-on effects: when you start cracking open the door to let people in a little—because, here’s the thing, that’s how you do The Belonging—you find that you try new things that the other people in The Thing to which you’re learning to belong like. It’s transitive almost: I like A and A likes Lizzo, therefore maybe I will also like Lizzo.
You discover music you’ve never really given a second glance before (or you discover who makes music that you’ve low-key liked for a long time but haven’t known who to ask about it). You take a risk and wear something ludicrously silly on Pajama Day—like a hoodie with a sparkly pug with antlers on it (I’ll have to get a picture; I can’t even begin to explain this one).
You say hi first once in a while.
You begin to listen without feeling like you might, at any moment, have to defend yourself.
You begin to talk. Just a little: but then one day you realize you’re having, like, a whole conversation. OMGWTFBBQ, IKR?
And you begin to learn that it feels good to be even a little bit on the inside of something.
You begin to realize that it’s okay to want to feel that. That being on the inside isn’t the same as being one of the people who, back in the day when you were a kid, did everything to ensure that people like you stayed out.
You begin to want to stay together because although you by yourself are just fine, the group is another thing, and it’s a really cool thing.
You begin to realize how much it helps to be a unit.
That (apologies to Kipling) the strength of the corps is in the dancer, and the strength of the dancer is in the corps.
I mean, not that it’s all roses and sunshine, etc. But this, for me, is a new feeling. Realizing that part of merging into the group is being willing to merge; is wanting to merge.
Just like the dancers in the Entrance to the Kingdom of the Shades, we do not surrender our individual strength to join the group.
Instead, we continue to dance on our own legs.
But we dance on our own legs together.
Yesterday was the first day since the beginning of the ballet season that I haven’t had something scheduled that required leaving the house—or, well, technically, I did have a cirque rehearsal, but I was running a fever and decided that it would be prudent to stay home rather than passing my germs along to everyone else.
Same thing today: Monday is a day off ballet-wise, but a rehearsal day for a small group of us from cirque. We decided to cancel cirque rehearsal today, since of the three of us, one is away and one is ill (spoiler alert: it me). Meanwhile, it’s break week at FSB, home of the partnering class I’m taking on Monday nights.
I’m definitely not complaining about the extra day off, though. One of the things I’ve learned about myself is that I really need some measure of time alone in order to stay sane.
I’m not sure whether my need for solitude (ha, that makes it sound so much more studious and intentional!) is an inborn trait or a function of having spent a great deal of time alone when I was growing up, but that doesn’t really matter anyway. It is, as they say, what it is.
Anyway, this past month has been one long, unbroken stretch of work days—and though I love my work, I’m seriously grateful for a chance to come up for air, even though it’s purely a function of coming down with whatever bug is making the rounds (and even though I’ve spent most of this unexpected down time asleep).
So, anyway, I’ve been meaning to write about how I’m managing at the moment—I mean the nuts-and-bolts of it. Now seems as good a time as any.
First, here’s a look at my work schedule:
- Sunday: Cirque Rehearsal, 12-2
- Monday: Cirque Rehearsal, 5-7, partnering class 6:15-7:30 (in practice, to actually do both, I have to leave cirque rehearsal at 6 and miss the first 45 mins of partnering class, due to an hour long commute)
- Tuesday: Ballet, 10-3:30; Teaching, 4:40-7
- Wednesday: Ballet, 10-3:30, Teaching, 4:40-8:15
- Thursday: Ballet, 10-3:30
- Friday: Ballet, 10-3:30; GFD rehearsal, 5-7
- Saturday: Ballet, 10-4
My shortest commute is about 30 minutes. My longest (home to ballet) is about 90. FSB is on the way home from the ballet, which is helpful, but it’s still a good hour from FSB to home. (I actually rather like driving, but it’s also physically and mentally stressful, so I’m profoundly grateful to finally have a couple of days on which I don’t have to drive at all.)
I’ve also been working a good many one-off cirque gigs and substitute-teaching fairly frequently, which is good for my income, but obviously means more driving and more time away from home.
The upshot of this is that I have very little time to do household stuff, which has been a challenge for me.
I’m not going to say that I’m on top of everything at this point.
I’m so not, especially not when I’ve planned my week around having most of Monday free and I get called in to sub during the day. I’m not great at switching gears, so things get a little bumpy when that happens.
I am, however, hanging in there better than I anticipated.
With that in mind, are the tools I’m using to at least keep us mostly ticking over:
- The Magic Of The Slow-Cooker: It would be hard to overstate how handy a slow-cooker is in my current situation. D doesn’t really cook, and I often don’t really have time to really cook, either, right now. Our slow-cooker has the standard low-heat setting and a higher setting, so you can throw a bunch of stuff into it and come back 3 to 8 hours later, and you’ve got food. It’s also huge. In practice, this means that I can dump some stuff in on Sunday and Monday afternoons, jet off whatever rehearsal, and return to dinner already sorted. It also helps with the next point, which is…
- Batch Cooking: D doesn’t like to eat the same thing for more than a couple of meals in a row, so I used to regard batch cooking as fairly impractical for our situation. Then, it dawned on me that I can make different batch meals on two consecutive days and stick the leftovers in the fridge, and D can alternate between them when I’m not home (or when I’m just too cooked myself to bother). Fortunately, D is a man of fairly simple tastes, and is generally quite content with things like chili, stew, pulled bbq chicken, and so forth. When I’m actually home for dinner, I serve them with…
- Bagged Salads: …Which are also my go-to lunch. At any given time, at least one store will typically be running a special on the “chopped salad” kits that include lots of crunchy vegetables and come with dressing and toppings like sunflower seed kernels, freeze-dried sweetcorn, raisins, and so forth. Often, I find them on clearance for less than $2/bag. They don’t hang around in my fridge long enough to go off, so I grab lots of those. Usually, one bagged salad can feed me through two rehearsals, which means that a fairly healthy lunch runs between $1 and $1.50 per day. A second one usually makes up the bulk of my supper. I also go through a ton of…
- Greek Yogurt and Frozen Fruit: I buy large bags of frozen berries (on sale, whenever possible) and large tubs of Greek yogurt, but I still get through about $8 worth of yogurt and $4 worth of fruit each week. Still, $12/week isn’t bad for a high-quality top-up between rehearsal and teaching.
- Frozen Burritos: I like to make burritos in batches and throw a dozen or so into the freezer. When you get home from a long day dancing and teaching dance, it’s easy to nuke a couple and actually make a decent meal out of them.
- Apples: I’m out of apples right now, and it has made me keenly aware how much I depend on them. I like really crisp apples, preferably tart or semi-tart, so I buy large bags of Granny Smith, Jazz, and similar cultivars. Normally, I eat a couple of them with some toast for breakfast, and they get me through to lunch. Without them, I wind up eating twice as much yogurt and twice as much toast. Apples are filling, y’all. They also don’t require any…
- Dishes: okay, so here’s where I’m flummoxed. I manage my own dishes by using as few as possible washing each dish as soon as I’ve used it and simply reusing the same two cups all the time: one for hot drinks and one for cold (they get washed once a day or so). D doesn’t adhere to that practice, though, which means I’m left with a batch of dishes to hand-wash on the regular (out dishwasher is dead). I haven’t found an ideal time for that, which means that at the moment they get done basically just whenever. It’s not ideal, but it’s not the end of the world, either. The slow-cooker also helps, since I generally only make one-pot recipes, which means fewer dishes to wash.
I’m still struggling to keep on top of laundry. The challenge there is mainly that D wants his work clothes hung up as soon as they’re dry, which means babysitting the dryer. Maybe simply hanging those things up to dry in the first place would help, though. Socks and the like could still go through the dryer.
D has taken over some of the stuff I was doing—particularly the yard work—which does help, and he doesn’t hesitate to wrangle laundry as needed. In the past, when I had no regular income, it bothered me if he did that, because I felt like as long as I wasn’t bringing in any money, that should be my job. At this point I’ve got a regular income, so I’m learning to feel okay with that.
We still have way too much stuff, which means that I never feel like the house is tidy, because it’s literally impossible to put everything away. We’re discussing how to deal with that—it’s not something I can handle unilaterally, because most of the stuff in the house isn’t mine. I have, at any rate, begun reducing where I can.
So, basically, we’re getting through. I enjoy working on cirque shows, but I won’t be sad to finally have Sundays off for a bit once our current show is done.
I’m actually managing better than I expected to, thus far. Ideally, going forward, I hope to eventually figure out a way too schedule my life so I have at least one regular day off, for sanity’s sake (two would be even better). Likewise, I am at present considering the best way to reduce the amount of stuff in the house and prevent more stuff from accumulating in its place: in other words, a way of solving that problem that will be equally motivating to both of us.
Life as a performing artist is unlikely ever to be as routinely-scheduled as almost any other life in a modern Western economy, and I’m rather glad to discover that capable of handling that.
Anyway, we’re back to ballet tomorrow, so I’d better go wrangle.my ballet laundry. I’m planning to post a couple of my go-to slow-cooker recipes some time soon, as well, and to get back to posting semi-regularly about technique.
I’ve been babying a minor ankle sprain so it won’t turn into something worse before the Gale Force show at the end of the month, but it’s starting to feel a bit better, so yesterday I did some dishes and made some deodorant.
A] As previously established, I’m a sweaty beast, and using deodorant is simply the polite thing to do if your job involves manhandling other humans. It allows my partners to work with a merely sweaty beast instead of a sweaty, stanky beast.
Nobody … or, well, almost nobody wants to dance with someone who smells like an entire disappointment of teenage boys. Or, at least, not in this context.
- In case you’re wondering, this was an actual direction for a dance I’m learning right now: “Just really manhandle her” 😁 Apparently my natural partnering style is quite gentle 🤔
- I’m not sure what the right aggregate noun is, but I bet any number of parents would agree that “a disappointment of teenage boys” sounds about right … Or maybe a disagreement?
B] There’s a brand of deodorant that I really like that uses the same set of ingredients … But it costs $10/tube and I’m a bit skint, as it were. (America really needs to adopt the use of the word “skint.”)
C] It looked really easy, and I needed to accomplish something because I’ve been struggling of late. Like WM says, don’t even bother with a double-boiler. I made my batch right in a jelly jar.
I followed Wellnessmama’s recipe for share/coconut oil deodorant fairly exactly … which is to say that I was a bit cavalier with my measurements in that I didn’t obsessively level the shea butter or coconut oil.
Apparently I haven’t decided whether I want to smell French or Australian, because I added lavender and eucalyptus essential oils. That said, I kept the amounts very small, because strong scents are deeply unwelcome in the dance studio.
Anyway, here’s the end result:
It turns out that this formulation won’t stay solid in this climate (at least, not in a house without central aircon), so I’m going to remelt it and add more shae butter so I can transfer it to a deodorant dispenser tube.
That said, I tried it yesterday, and it works a treat. This is a deodorant rather than an antiperspirant, but I haven’t noticed that I’m any sweatier using this than I am using my usual commercial antiperspirant.
I might stay dryer using a “clinical strength” antiperspirant, but of late they tend to give me hives, which leaves me rather disinclined to use them.
I’m now wondering:
- Can I make deodorant out of cacao butter?
- If yes, will it just make me crave chocolate all day?
So that’s my next bit of DIY deodorant research.
I’ve got some reusable deodorant tubes that I’ll be using to make a portable final product, and I ordered some smaller-size tubes as well so I can make portable Shae butter bars and cacao butter bars to give away at Burning Man.
Shae butter is a fatty acid with lovely soothing qualities, but it remains solid even at pretty high ambient temperatures, which makes it the perfect antidote for Playa Foot, which is caused by the extremely alkaline dust of the dry lakebed that is the Playa.
I haven’t tried using cacao butter on the Playa, but I suspect it’ll be great, too. It stays harder than shae, however, so I might need to blend it with something like coconut oil to lower the melting point a little.
That said, cacao butter will happily melt if you leave it in a hot car, so maybe I’ll maybe some pure cacao bars so people can leave them in their hydration packs with less danger of creating a permanent chocolate-scented oilstain. Hmmm.
I’ll have to think about that one.
I already wrote this once, and WordPress did some glitchy thing and ate the post (like, ate it so hard that it’s not even in my trashed posts bin), so unfortunately you’re getting the short version, which will inevitably be way less clever than the original.
Anyway, I recently learned an important fact:
I also discovered that when you randomly want polenta for lunch, but you also want to eat, like, Before Someone Gets B*tchy, you can nuke yourself some Quick Grits and just add stuff.
Only … like … if you add a bouillon cube? Add it to the boiling water before you add the grits, and safe yourself the weirdness of a random encounter with a big chunk of undissolved bouillon.
You should probably take a similar approach if you’re using something like Better Than Bouillon, just to make sure it’s distributed evenly. (BTW, Better Than Bouillon is awesome.)
Anyway, here’s the recipe for this afternoon’s lunch.
- 1 & 1/3 cup boiling water (or broth)
- 1 cube of bouillon or equivalent (unless you started with broth)
- 3/4 cup quick grits (not regular, or you will be sorely disappointed)
- salt to taste (you can definitely skip it if you use bouillon)
- random cherry tomatoes
- the remaining edible leaves in an otherwise disreputable-looking bag of kale (spinach would work just as well)
- about a teaspoon of butter & olive oil blend
- one egg
- Boil the water or broth and (if necessary) pour it into a large microwave-safe bowl (1 qt/1 litre will do)
- If using bouillon, ADD IT NOW, not later ^-^’, and stir to dissolve
- Add the quick grits and salt (optional) to the liquid
- Stir again
- Microwave for 4-5 minutes. My microwave is, erm, gentle, and it takes about 4.5 minutes. Yours will probably be faster.
- Remove the grits from the microwave, add veggies, stir, and allow to stand
- If desired, nuke an egg (spray a small plate with cooking spray, crack the egg onto it, and put it in the microwave). In my microwave, this takes 30-60 seconds depending on the plate in question and how cold the plate is at the start.
- Slide the cooked egg onto the grits, add the butter blend if you want it, stir, and enjoy.
If you prefer not to use the microwave, just follow the package directions to make your quick grits on the stovetop, adding the bouillon (if desired) at the appropriate point (before you add the grits), then carry on as before.
You can, of course, also make this with Instant Grits, and you can use any other veggies you have on hand. Get creative! Tofu? Why not! Could it be …. SEITAN? Sure! Toss some ham in. Omit the veggies and make a sweet-savory version by adding butter and maple syrup. Chill it, slice it, and fry it! Branch out and try old-fashioned Hasty Pudding! It’s all you!
Oh, and if you decide to make regular (as in, Not Quick) polenta?
Know that no less an authority than Serious Eats’ Daniel Gritzer says you can ignore the “rules” about waiting ’til the liquid is boiling to add the cornmeal and then stirring constantly until it’s ready.
- …you’re trying to figure out where to cram in a side-side-side gig so you can make some extra money this summer so you don’t have to worry as much about expenses during the main season >.<
- …you realize that you’re performing at a gig you couldn’t currently afford to attend
- you look at your summer rehearsal and performance schedule and realize that you have officially broken your summer break o.O’
- …you discover that inflatable bathtubs exist ❤
- …you realize that, although you don’t think of yourself as an ambitious person, you actually do have some pretty lofty goals that you want to achieve in your lifetime … they’re just not necessarily ones that chime with conventional ideas about “success”
Last week, DS and I put the final touches on our piece for PlayThink’s mainstage show, Gale Force rehearsals began, and I discovered that I do really freaking good turns if I don’t have contacts or glasses on (weird, right?).
My hypothesis about the turns thing is that being unable to see anything clearly prevents the following:
- Spotting too high … which I STILL do all too often
- Hyper-focusing on my spot spot. I didn’t realize I might be doing this until I paused to analyze the feeling of those really, really nice and effortless doubles (and one effortless triple) I tossed out there the other day. I think I get so fixated on the idea of ACTUALLY LOOKING AT AN ACTUAL THING IN THE ACTUAL WORLD that my neck stiffens up in an effort to fix my focus. A stiff neck doesn’t help your turns, guys.
I also finally started listening to Hallberg’s A Body of Work, which I bought on Audible before the season ended and have been putting off because … well, reasons, I guess. I don’t know precisely what those reasons are, though I could probably figure it out if I sat down with my inner being and had a good conversation.
I know part of it was just the sheer dread of having to hear The David Hallberg talking about his amazing successes as a dancer during a time when I was feeling like literally the worst dancer alive.
It turns out, though, that Hallberg is as engaging and humble as an author as he is lyrical and princely as a danseur. So it turns out that in addition to being a fabulous dancer he might ALSO be a fabulous human being. He certainly comes across as thoughtful and very, very human in his writing.
Curiously, many of his struggles are #relatableAF in fact. I found it immensely edifying to hear about his difficulties with his early efforts at partnering, you guys.
Speaking of edifying, I also got an offer for a full scholarship to a summer intensive in Europe, though sadly it coincides with tech and theater week for GFD’s show, so I can’t go. But it was really cool, anyway.
This summer I’m focusing on partnering, tuning up my turns, and NOT DOING DUMB THINGS WITH MY HANDS.
As you may or may not be able to tell from this picture, I’m also working on #BalletFitness … specifically:
- whittling down my thighs so I don’t have to fight with them in 5th position ;D
WRT that last one: I don’t mean spot-reducing; I mean focusing on using the right muscles so my stupid quads will chillax and get out da darned way, while focusing on eating good food so I don’t either gain a lot of weight or constantly feel puny and starved.
I’d like to reiterate, once again, that for me, the size of my thighs is a functional thing. There are people who are much softer and curvier than I am who can dance really well with much bigger thighs because their pelvises are arranged in a way that allows them to access a tight 5th position at their size (which might, for some of them, be harder at a samller size).
Over the past year or two, I’ve realized that I not only have hyuuge quads, but I also have very little clearance because of the way my pelvis and my humeri come together. This means that regardless of my apparently awesome capability for rotation in the hip joint, my 5th position is prone to difficulty because my big, stupid legs are in the big, stupid way.
I mean. They’re not really stupid legs. They’re good legs, Brent. They’re powerful legs. They make it easy for me to jump high and lift people (and yes, in case you’re wondering, you legs and core really do most of that work almost all the time).
But they are big, and they’re set close together, and those factors conspire to place them right in each-other’s way if I’m not vigilant about working in such a way that A) my quads don’t go, “COOL WE GOT THIS BRUH” and inflate to the size of intercontinental ballistic missiles* and B) there’s not much extra “fluff” to get in the way. “Fluff” is probably better than muscles, since it’s squishier, but there’s just no freaking room.
*intercontiental balletic missiles???
So basically I’m in the midst of this crazy transition during which I continue to be sort of flabbergasted by the fact that I am apparently doing this dancer thing now, but also not entirely flabbergasted in the same way I used to be. I don’t know exactly how to describe That Feeling When, so I’ll leave you instead with this lovely picture of ya boiii Mercutius T. Furbelow expressing his sentiments about the arrival of summer weather here in the 502:And this update on the status of my surgical scars (or relative lack thereof):