Category Archives: class notes
Danseur Ignoble: It Helps If You Can Breathe
12:15 class today with Ms. T. I haven’t done her class in ages (Claire used to teach the noon class on Saturday), so it was a new experience. I also haven’t done the 12:15 Saturday class in over a month, so that was cool.
While the 12:15 class is billed as a beginner class, like most it gets adjusted based on who shows up; today, we skewed towards the intermediate level, particularly at the barre/
I’d say that our work at center and across the floor was more advanced-beginnery — which is to say that we didn’t do 360-degree promenades in attitude or arabesque, anything with pas de Basque or balanceé as linking steps (you guys, I absolutely and irrationally love pas de Basque; it’s one of those steps that just feels like dancing), or any combinations with different flavors of turns.
Anyway, I forgot to tape my toes and forgot to take my nasal spray. The latter of these was the worse oversight: my nasal spray keeps my whole nosapharynx open, and my allergies are on high alert today, so breathing became a challenge towards the end.
Barre was iffy at first (my plies felt inelastic, and it took me a while to get my head in the game), but the last half of barre was pretty good, and I felt pretty solid at center and going across the floor.
We did some nice adagio at center (with promenades at passé, which are comfortingly easy at this point) and then a really pretty traveling combo in waltz time that went:
Prepare (B+, port des bras);
Tombe
Pas de bourré
Plie fourth;
(Long) Passe balance
Tendu back;
Tombe
Pas de bourré
Plie fourth;
Single (slow) turn en dedans
Tendu back;
Tombe
Pas de bourré
Plie fourth;
Double turn en dedans (or triple if you were that one guy with the awesome turns);
Pivot
Soutenu turn to fifth
Plié;
Chassee to 1st arabesque en releve
Allongé
(Faille implied.) Run away!
I wanted to say that the tempo was fairly moderate, so there was lots of room for expression, but when I tap it out on my mobile metronome it’s about 130 BPM, which is squarely allegro.
Maybe it felt slow and easy because we did a really fast grand allegro combo on Wednesday. I mean, like, we ran it first at a tempo that was also squarely allegro, and then at about twice that speed. Woof.
Anyway, today it felt like we had plenty of time and room going across the floor and weren’t rushing to get from one step to the next.
I was on the rear point of a triangle with its front line made up of two people who were shorter than I am, so I kept having to moderate my travel so as not to gallomph into them or become unsynchronized. That’s a useful exercise, though, as being able to maintain spacing in a squadron of differently-sized dancers is an essential skill.
That said, triangles usually go point-first in ballet, don’t they?
I got through the first set of little jumps before my toe started to feel iffy. I skipped the second set, which made me sad — dangit, I wanted to do entrechats! I also skipped grand allegro today, just in case.
Not being able to breathe very well didn’t help. Everything feels about twice as difficult when your air intake is clogged.
It’s mostly, I think, that when you get even a little winded, it’s hard to get enough air to recover properly.
Instead of getting a little winded, recovering, getting a little winded again, and recovering again (which is a normal pattern during certain parts of class), you get a little winded, get more winded, then get even more winded. By the time you make it to the end of the first set of little jumps, you sound like a freight train and feel like your head and/or heart are going to explode.
That said, it’s not like this is a new thing for me. I have had nasopharyngeal issues as far back as I can remember — I’m just usually better at making sure I’ve dealt with them before class.
So, yeah. Nice reminder today about why I take my nasal spray before class.
I think next week I’ll swing for all three intermediate classes (M,W,F) and the 12:15 class on Saturday, which Brienne is teaching, though I may do evening class on Monday (Brienne is teaching that, too).
Brian is back to teaching the following Monday, which will be awesome. On the 14th, Wednesday AM class will be taught by the instructor who teaches advanced classes, so I’m rather looking forward to that as well.
Anyway, that’s it for today.
Never underestimate the importance of breathing 🙂
Danseur Ignoble: Now That’s Showbiz
Did Brienne’s class today, and I made it All. The. Way. Through!
(Though I skipped a couple of reps of petit allegro.)
She has a really fun CD of class music called “West End to Broadway” (hence, in part, the title of this post), including some nice, slow pieces for torture fondu and barre adagio.
Barre is improving.
If you’re a horse person, you know that thing where if you don’t ride or school your horse for a while, sometimes the horse in question acts a bit silly when you put him back to work? That’s kind of where my body is.
It does things I didn’t really ask for, then I correct it, and it’s all, “Oh, you mean those turnout muscles! Okay. No worries!”
However, it’s doing less of that now than it was last week. My successive approximations are closer to the goal state. So, Yay!
Speaking of successive approximations, at center and across the floor, we had nice combos today, and I did the traveling ones, if not worth prefect execution, at least with a lot of elan.
Now, if I could just stop putting in failles where there aren’t any and leaving them out where there are (and adding an extra saute arabesque here or pique turn there)…
But that’s more of my body being a silly horse. At least it’s a silly horse that’s got some style?
Which brings me to the other reason for this title: one of the things my classmates kept mentioning was the struggle to remember the combinations (some of which were fairly complex).
The cool part is that you wouldn’t have known it, for the most part: everyone focused on performing and enjoying themselves, and most of us looked pretty good. (I’ve determined that if you turn the wrong way on the rear point of a triangle, it actually looks pretty cool anyway, so I don’t even worry about that anymore ;)).
I’m back to a point at which I don’t freeze if I blank on the combo halfway through; instead, I improvise. It’s a skill I learned as a musician: nobody knows you screwed up if you don’t let them know.
Of course, in class (okay, and sometimes in big corps numbers), that’s not entirely true, but what you practice in class is ultimately what you will do on stage — and, of course, mistakes do happen during performances, even to professionals. Like we lowly danseurs and danseuses ignobles, they have to learn to make it look good.
And that, too, is showbiz.
(Come to think of it, looking like you meant to do that is an important life skill in general — ask any cat!)
So that’s it for today. The final combination in today’s class went so well (You guys, I threw in a cabriole just for kicks! I’m back!) that I finished up feeling jubilant, ebullient, even bubbly.
Now, home to do computery work.
Danseur Ignoble (Again!): A Teaching Tip I’m Totally Going To Steal
Tonight, I went and rocked out Ballet Essentials (even though The Divine Ms. M playfully scolded me: “What are you doing in this class? You should be in the other class!” I explained I was saving my toe against Wednesday’s Intermediate class).
We had a raft of new dancers and a lovely, simple barre. At center, we worked the basic port-de-bras and positions of the feet, then did chassees (a droit, a gauche, et avant), then did a little combination in two versions: a simple “chassee avant right, chassee avant left” for the really new folks or a swift-traveling polka for those who had been dancing for a while.
You guys, I love polka (if you’re wondering, here’s a basic example: chassee avant right, hop [kind of a saute passe, really], chassee avant left).
Here’s the thing, though, that I’m going to steal: after everyone had traveled across the floor, Ms. M asked even the newest students to try the polka step — and then she said, “Imagine that you’re Clara in the party scene of the Nutcracker — or, for the gentlemen, that you’re Fritz. Get into character!”
At the same time, she demonstrated the characteristic steps for each part.
Suddenly, everyone had permission to play, to perform — and we did.
When you’re teaching adult beginners, especially, there’s a kind of play barrier that you have to knock down. Adults feel as if they must master technique, and they focus on it so hard that they forget to play and have fun and pretend to be Clara or Fritz.
You guys, I have to tell you — everyone in that room looked a hundred times better immediately once they jumped on that bandwagon. Even me.
I got my Fritz on. I thought about the character, about embodying that spirit of Sassy, Irritating Little Brother-ness (because, frankly, that’s a role I know pretty well; I’ve only been working on it all my life) and about how sometimes when you’re a little sibling, you do this thing where you both mock your big sib and show off at the same time. And then I danced that, and it looked cool.
You guys, it was fun, and I think we all enjoyed it.
So I’m going to remember that, and I am going to steal the heck out of it. Talk about “one easy trick!” It’s a nifty workaround to get adults to lighten up and enjoy themselves.
Which, of course, leads to better-looking ballet, for all the reasons I mentioned earlier today.
Danseur Ignoble: Intermediate Again
I returned to intermediate class today. I had my doubts, but it actually went reasonably well.
While I didn’t look stellar at the barre, I did make it through all the combinations (of note, either today’s fondus were less sadistic than usual, or my legs are really fresh, or both). Weight transfers were solid; grand rond de jambes were … Um.
Adagio has been worse, but has also been much better. Across-the-floor, on the other hand, was surprisingly good. I need to tune up my balancé a bit again, but the whole thing hung together and looked rather nice (including a lovely turn from fourth; egads, I have missed turns from fourth).
I did part of the petit adagio, then called it a day. I think that was the right call. We did quite a bit of relevé work at the barre, and my toe was starting to speak up.
In other news, The Momma (Denis’ Mom) is making us costumes for Tutu Tuesday (I am preparing her sainthood paperwork as I write). We took measurements yesterday. I selected the fabrics and colors last weekend. I think they’re going to be pretty cool.
The summer depression continues apace, but I’m managing. I really need to get my butt to class as often as I can between now and when we ship out for Burning Man, and I’m hoping that will help.
Anyway, that’s it for now.
Don’t forget to spot your turns!
Danseur Ignoble: Saturday Class with Claire and a Turf Toe
I banged my toe at PlayThink last Saturday, optimistically assumed that it would be Just Fine by Monday … then Wednesday … then yesterday.
Perhaps unsurprisingly, it wasn’t. Today, though, it was okay enough to get through barre, adagio, and a bit of across-the-floor. Claire forbid me to do any work en releve, which was a good call. (I also opted out of jumping.)
You guys, it turns out that when you’re used to having free access to releve, remembering not to use it is, well, disconcerting.
Nonetheless, I barred and adagio-ed and semi-gracefully made my way across the floor, substituting where I could, otherwise just leaving stuff out.
…Okay, and occasionally stumping around like an old-fashioned pirate with a peg-leg, yarrrr (you guys, I don’t think that’s what they meant when they named that one ballet “Le Corsaire”). Because apparently attempting to avoid using that one foot in those specific ways just makes me do weird things sometimes.
![Le Cors-arrrrrrrr. (With apologies to By Fanny Schertzer (Own work) [GFDL (http://www.gnu.org/copyleft/fdl.html) or CC BY-SA 3.0 (http://creativecommons.org/licenses/by-sa/3.0)], via Wikimedia Commons)](https://danseurignoble.com/wp-content/uploads/2015/06/le-cors-arrrrrrrrrrrr.png?w=261&h=300)
Le Cors-arrrrrrrr. (With apologies to Fanny Schertzer (Own work) [GFDL (http://www.gnu.org/copyleft/fdl.html) or CC BY-SA 3.0 (http://creativecommons.org/licenses/by-sa/3.0)%5D, via Wikimedia Commons)
It was interesting. Some parts were great. Some parts? Frankly awful.
Still, I got to focus on my upper body more than usual, and that was cool.
Today’s primary correction was a refinement of the ever-present “fix your chest” thing. I’ve got the “lift the sternum” bit; now, I’m working on keeping the whole column of my body together.
I’m better at this at some times than I am at other times. When I remember it, my turns are much better.
I couldn’t do turns on the left (supporting) foot today, but I could on the right, and they were good. Also, fun. And I didn’t do any of them the wrong way (though, to be fair, we didn’t do any combinations that involved both turns en dedans and turns en dehors).
The highlight of today, for me, was the work we did on using pique arabesque in combinations more gracefully. That was particularly cool, because it’s a thing I’ve been thinking about and (before I screwed up my foot) working on at home.
I nailed that a couple of times on the right supporting foot; I kept running into a mental block on the left because I had to do it flat.
Today I noticed one more useful thing: I need to stop looking at the freaking mirrors, because I throw myself off. Not all the time, but often enough. I have heard tell of whole companies where they rehearse with drapes over the mirrors for exactly that reason, so at least I’m not alone 😉
That’s it for today. If you have the chance, do some extra balances and turns for me!
Danseur Ignoble: Ballet Bonque 2: This Time, It’s Personal
I think I’ve written about the phenomenon of “ballet bonk” once before,
but since bonking makes the old brain a bit foggy, I’m not going to try to find that entry and link it.
So what, you might ask (since not all of you are endurance athletes as well as dancers, and I’m too cooked to link), is “ballet bonk?”
In short, it’s the almost completely avoidable phenomenon that occurs when your muscles run out of fuel. in an endurance sport context, it’s just “bonk” or “the bonk,” sometimes with various adjectives (dreaded is a good one). When it happens in ballet class — which it only will if you are, as I am, a complete idiot — it seems fair to call it “ballet bonk.”
The physiological explanation for bonk is that the muscles have depleted their “reserve tank” — the glycogen stores that they tap when you make them do things like run or ride a bike or fondu. Normally, at that point, they switch over to using the fuel you’ve recently added in the form of caloric intake, but (and here’s where the “idiot” part comes in) not if you have grossly under-eaten and there’s basically no fuel for them to tap.
When that happens, your muscles will firmly and politely refuse to do frack-all until such time as you top up. Unfortunately, unless you can afford to take a break of a couple hours, a full-on bonk spells the end of your race or brevet — or, in this case, your ballet class.
The chief symptom of bonk is that your muscles just say no. They don’t usually stop responding entirely, of course — but you can kiss speed and alignment and power good-bye. On the bike, your legs will make occasional, pathetic efforts to turn the cranks; in ballet class, meanwhile, your grand battement week suddenly be less than grand. All your efforts will feel inconceivably weak. You will wonder what is wrong with you.
And then you’ll figure it out, and graciously bow out after barre (which, today, was an hour long), and go eat some food. Or, at least, that’s what I did.
I should point out that there are contributing factors, here.
Derp the first: I am having the usual summer uptick, which makes falling asleep very difficult, and Denis keeps leaving the shades drawn, which makes waking very difficult. Thus, I woke up today with fifteen minutes to get out the door. That’s plenty of time to brush my teeth, get dressed, and grab a water bottle, but not enough time to make food.
Derp the second: I didn’t eat enough yesterday, so I was already starting from behind.
Deep the third: I over-estimated how long it would take to ride to the bus stop and, as a result, rode too hard and fast, using up more energy than I should have. At an easy pace, the ride in question burns about 300 calories. At molto prestissimo, of course, it burns more.
Derp the herp: for some reason, at the bus stop, I ate the little 90-calorie snack thing I’d packed instead of the 190-calorie one. I couldn’t eat both because we have already established that it is a bad idea to ingest 40% of your day’s fiber RDA in one sitting half an hour before class … a very bad idea.
Add to all this the fact that A) Brienne’s class is always demanding and B) it was really hot in the studio, so my body was working overtime to cool itself, and you’ve basically for the perfect storm, so to speak.
The worst part is that bonk is not something you can work through. You can get stronger, you can build endurance: but bonk is bonk, a lack of available fuel is really kind of an insurmountable problem. Sure, you become more efficient through training — but no matter how fit and efficient you are, of you don’t plan well, you can set yourself up for a bonk.
Thus, I quit while I was behind to avoid hurting myself … or, for that matter, anyone else; nobody needs a bonking flailer (flailing bonker?) crashing into — or worse, onto — them mid-adagio.
So how, one might wonder, can ballet bonk be avoided?
That, friends, is (fortunately) simple.
Eat.
In endurance sports, you avoid bonk by eating-on-the-run (or on the bike), taking feed breaks at regular intervals, etc.
In ballet, of course, that’s not really possible: fortunately, most people can handle about 90 minutes of sustained activity before they deplete their glycogen stores, and most ballet classes are about 90 minutes long. Dancers can avoid bonking simply by, like, remembering to eat, and remembering to take into account how much energy getting to class requires if they use “active transportation” like cycling or walking.
I would have been fine if I hadn’t ridden the bike this morning and/or if I’d fueled appropriately. Instead, having taken in only 90 high-fiber (and thusly slow-digesting calories), and having already burned upwards of 300 on the bike, and having started the day with an energy deficit in the first place, I set myself up for a bonk.
So there you have it, gentles: remember to eat. Then you won’t bonk during barre.
And if you do ever experience The Dreaded Ballet Bonk, consider ducking out after barre so you don’t injure yourself.
That’s it for now. Remember: eat food and avoid the bonk!
Today’s message brought to you by the letter B and the number glaaaaaargh.
Danseur Ignoble: Returning the Last Books
Yesterday, I went to Margie’s class, where we had 3 new dancers (one complete newbie, another with a dance-team background, and a third with extensive ballet experience who hadn’t danced in a long time. Margiesuggested that I do Tawnee’s class, but my calf is still regaining strength, so I opted for a “rehab” day.
l think intermediate-class-plus-bike-commuting probably calls for light exercise (maybe a walk?) on the following day to reduce soreness. l should, come to think of it, treat myself like I’d treat a horse on the mend – follow an over-fences or dressage day with light walk-trot hacking, probably on trails, possibly in-hand (that means leading, rather than riding, the horse). I probably wouldn’t turn me out in a field with my buddies yet on days off – too much risk of horseplay (they call it that for a reason) and re-injury.
So while I need the workout l get in Brienne’s class, I should be smarter about days off, so I won’t be sore as long. l should also probably wear a compression sleeve.
After class I purchased the last of Denis’ anniversary gifts (the only one that cost more than $7) and returned ny last lUS library books – my first visit to campus as a graduate, but also final undergrad business. That felt weird.
Margie and Taunee keep gently nudging me towards Tawnee’s class, so it looks like
Essentials Forevar! plan night, in fact, not happen. I do think my calf could use another week or two, though.
That’s it for now. It’s raining at last.
Danseur Ignoble: Huge Wednesday Class!
There were a jillion of us today, and Brienne made us all really focus on our turnout, which is always good, because of course all dancers always and everywhere — or at least all ballet dancers always and everywhere — can never stop working on turnout.
My barre was decent most of the way through, though my developpés were, well, low (~90 degrees ._.) and slow. Need to start working those at home again. Our grand battement combination was borderline sadistic and made me keenly aware of how much fitness I need to build still. On the other hand, at one point, we did an attitude derriere balance that was just like, “Ohai! Look, Mom, no hands!”
But the secret is that attitude derriere is a pretty easy balance if your back is strong and flexible. Everything is nicely cantilevered. So, boom, beautiful attitude balance with arms in fifth, like it ain’t no thang. Aaaaaaaand … freeze.
I should really be doing Brian’s class on Monday as well, to keep things consistent, but I can’t until I get a job, which I won’t be able to do til I get back from Florida. I don’t want to drop Margie’s Friday class because I feel like it really helps with my musicality and stuff. So, for the time being, I suppose I’ll have to do something else on Monday to work on ballet fitness.
At center, I didn’t bungle the adagio too badly (ha) and managed to do the medium allegro decently. Our traveling combination with turns was actually the highlight of the class for me, though (surprisingly: usually I’m all about the jumps).
As for petit allegro … oy, vey. I need to work on speed. Height and ballon I’ve got by nature, but at the expense of speed. I do fine (I have learned to moderate my vertical jumps by doing them lower) until we start throwing in glissades, at which point I get behind if the music is really quick. My glissades tend to be huge and floaty. That’s awesome if there’s time in the music, but dancers need quick glissades, too. The quick glissade is a skill I have to practice frequently, and one I lose if I don’t.
So this week I’ll be doing petit allegro, lightly and quickly, at home. I would do well to practice it when my legs are already tired, since doing light, quick petite allegro while tired is pretty much a given in ballet. I’m also going to work on grand assemblé with a beat, because beats are awesome and look cool. I suppose I should also work on a small, quick assemble.
To an extent, I’m fighting cycling muscles again. I did too much gear-mashing the past two weeks or so, which overdevelops the quads (and other muscles the we use in ballet to launch big, powerful jumps). This does two things: first, it just makes one’s legs freaking heavy, which means one is then consigned to a heavier lifting workout throughout class.
Second, if the opposing muscles are insufficiently developed, it’s harder for them do their job in développé and so forth — basically, any movement that requires them to overcome the huge “launch muscles” that provide for explosive jumps (both in the ballet studio and on the bike).
Thus, one finds one’s self attempting to construction-crane into extension with the quads instead of pushing from beneath, which makes one’s turnout fall apart and prevents one reaching maximum extension. Also leads to clenching, gripping, and the making of terrible faces. So just don’t do it, because your face could freeze like that (and so could your butt, which might be even worse: you would have to dance like that FOREVER).
Body mechanics, y’all.
I need to ride more slowly in lighter gears and do exercises at home that balance out the launch groups.
Which I practiced on today’s ride home.
Mostly.
Anyway, I started this post at lunch, and here it is, nearly bedtime. Not that I’ve been writing all day; I just keep coming back and thinking, “Meh, this doesn’t seem done,” and then failing to come up with anything else. I’m sure at one point I had some other things I meant to write about, but I don’t remember them.
So, there you have it.
People with big legs: any suggestions for taming the quick petite allegro? (Besides, “Practice, practice, practice,” which is probably, to be fair, a huge part of it.)
Danseur Ignoble: Milestones
Today, I did Margie’s class. We began with the usual easy plies, combined tendus and degagees to save time, and then she changed it up and gave us a challenging fondu-et-rond de jambe combination and did our grand battement en releve. The fondu-et-rond de jambe combination also involved circular port des bras, which is finally starting to look like ballet instead of like some kind of terrible spasm.
During our floor stretch I still couldn’t get the right-side split all the way down. My right hamstring has been tight since I’ve been riding the bike a lot, and I think I just figured out why — as a long-time equestrian, I tend always to mount and dismount on the left, and as a result I also tend always to put the left foot down at stop signs, lights, and so forth — which means that the right leg does more than its fair share of the pushing-off-from-a-dead-stop work.
The left split, on the other hand, went right down, no sweat: boom, here I am on the floor. So, of course, Margie wandered over and gave me additional stretches (and reminded me to square my hips) — flat back forward; cambre back. I want to say I’ve probably done cambre back in a split before, but certainly not since I was, like, 13 or 14.
I also was able to pretty much pancake during center splits. That’s another thing I probably haven’t done since middle school (or, at the latest, high school, during my Modern Dance phase).
We also did turns from fifth at the barre, and a few of mine came out rather nicely.
Going across the floor, we did a really-rather-wicked balance exercise — two different versions, really.
Version A was what one might describe as a pique-passe-fondu walk (and here’s the hard part) without putting the working foot down and with control on the supporting leg. No hopping. No schlumpnig. Just one smooth motion: pique; working leg comes through passe towards tendu as the supporting leg melts into fondu. Repeat on opposite leg; no step in between. Easy enough on the flat foot; much harder on releve (we used coupe rather than passe en releve).
Version B, on the other hand, started with pique first arabesque, then came through attitude to passe to extend forward and provide the working leg for the next side (en releve the whole time, no steps between, no hopping, no schlumping). I was able to do this really well maybe twice, when (surprise, surprise) I stopped thinking so hard about my supporting leg.
Apparently, there’s no crying in baseball, but there’s no thinking in ballet.
Needless to say, I shall be practicing this at home! This is the first thing that’s caused me to say, “Wow, that’s hard” in the ballet studio. Not to say things are never challenging — but this is the first time something has been sufficiently challenging to warrant mentioning.
After class, Denis took me to a nearby thrift store, where I actually found three really, really nice shirts in my size. Huzzah! It is not particularly easy to find a size small or 14 – 14.5 mens’ dress shirt at a thrift store in this part of the country, let alone three really sharp ones in excellent condition.
I took a chance on one that I wasn’t sure about — a casual button-up with a large plaid pattern in mulberry, several browns, and a couple of other shades. I tried it on in the changing room, and was really surprised to find that I really like how it looks.
The others are both proper dress shirts, one in a crisp black poplin and the other in a French-blue stripe with French cuffs. I’ll see about finding some inexpensive cufflinks that suit it (my current pairs are red and purple, neither of which would be a great match for most occasions, though the red ones could work for Independence Day or Bastille Day :D). Come to think of it, silver (or stainless steel) would go nicely either either the blue shirt or the black one.
Hmmmmmmm.
Okay. That’s enough for now. I have to go sort out some web stuff, do some homeowork for the MOOC I’m taking, and otherwise attempt to be a responsible adult. Ha!
I’m working on it.
Danseur Ignoble: Intermediate Class, Now With More Fiber
I finally bit the bullet and returned to intermediate class today.
But first I failed to eat breakfast, so I bought some protein bars (mainly because they were fairly low in sugar). I had plenty of time before class, so I wolfed one down.
Then I noticed a message on the side of the box: “Increase fiber intake gradually to avoid gastric distress.”
Huh.
I did not proceed to check out the fiber content (update: I did check it after I got home — 20% of your daily diet intake per Bar! No wonder. I mean, that’s great, but maybe better after class, here).
I didn’t want to know. Sometimes — particularly on the way into I(ntermediate) C(lass), Brienne’s IC especially — ignorance is bliss, or at least survival.
Barre went well. As a body, Brienne’s students adore her because she works us like a bunch of cart-horses while providing great guidance and corrections. We suffer under her tutelage and emerge better dancers.
Oh, and her barre is often a full hour long. Spin class got nothin’ on Brienne’s barre.
It turns out that I haven’t lost my ability to learn long combinations and execute them, though I am somewhat out of shape physically.
I suffered like a bike racer through the final fondu adagio (we did, like, three separate slow fondu combos; mine got ugly towards the end) and then somewhat half-assed the frappés, even though that combination was fun (frappe x4, grand battement x2, all the way around and then avant with the inside leg).
At center, it turned out (no pun intended!) that all the work I’ve been doing on balances has greatly improved my turns. They’re now solid in combinations, as long as I don’t psych myself out.
We did a little warm-up thing with tendus and pirouettes from fifth, then some really nice adagio that I freaking well did right (including a double from fourth, Bwahaha!) on the first try…
And then, like a voice from beyond, my stomach spoke.
It spoke inaudibly, but its message was clear: Danseur Ignoble, you are just about done for the day. It was quite firm about that.
I made it through the second side of the adagio combination, but by the end of the first-side repeat my guts were in knots and I was starting to think I might vomit. My leg was also quietly suggesting that it was close to done –and I still needed to haul groceries home on the bike. For that matter, even my brain wasn’t so hot by then: it was busy trying to keep my guts in line, and I soon forgot the combination I’d just done so successfully a moment before.
My leg, my guts, my brain, and I limped through the rest of the adagio. We skipped the allegro: the guts weren’t having it, and the leg felt sufficiently fatigued to suggest a good stopping point anyway.
Needless to say, I followed up my class with an unexpected pit stop. Oy vey.
At any rate, all’s well that ends well. I’m feeling much better now.
And I have learned a valuable lesson: when choosing a pre-class breakfast bar, fiber content is probably as important as sugar and protein content.
Today’s corrections:
1. An effective one for keeping the supporting leg really turned out while in a relevé balance (can’t remember how she said it, but it worked and I’ve got it in my body now).
2. A deeply useful one for hitting the accents and a good line in frappé. Somehow, I haven’t been thinking of where the “picture” is in frappé,perhaps because I keep thinking of it as a passing step, which is a silly thing to think anyway in ballet. In ballet, there’s always a “picture.”
3. An excellent one for being musical and expressive in adagio without squinching up too much in the “small” moments. This one you really had to see. Maybe I’ll make a video?
Even though graduating is, like, terrifying in its own way (I used to kvetch about never finishing anything; now I’m kvetching about how scary finishing is!), I can’t wait to be done with this semester so I can get back to doing Brienne’s class on a regular basis. Also Brian’s Monday class.
Between the two of them and Margie’s and/or Claire’s Saturday classes, I think I’ll be in very good shape when it comes time to do the audition component for various DMT programs. I’m gaining a confidence in my body that I really never expected to achieve (learning to loooooove yourself, it is the greaaaaaatest loooooove o-of all, amirite?).
So that’s it for today. Stay on the ball, dancers!





