Category Archives: balllet

Here Is Fine, Redux

I’ve been reflecting a lot on some of the themes from Monday’s post — the need to step back from a dualistic world-view that makes me want to do the adulting equivalent of storming off the playground because the toys I want aren’t there right now, or whatever. I have more thoughts on that, but I’m not feeling very serious today(1)

  1. Possibly in part because I may finally have reached “laugh so you don’t don’t cry” territory; certainly because this latest fire abt invasion is veering into Theater of the Absurd territory; I feel like a walking, talking … okay, shuffling, croaking Monty Python sketch.

My fire ants are still in residence, but I’m seeing seeing my doctor tomorrow. 

I’m really glad that I decided to get off the fence and make an appointment, because over the past couple of days, a detachment of fire ant scouts has established a beachhead in the conjunctiva of my right eye 😐 

(Maybe  -___o  is more appropriate?)

Medically speaking, this isn’t as horrible as it sounds—it’s just run-of-the-mill “pink eye,” which I assume is related to the Invasion of the Fire Ants but might just be a random dose of Immune System Trollery. 

In short, it’s itchy and weird-looking, but not dangerous. 

The main problem is that “pink eye” in general is often highly contagious, and thus essentially good cause to go about wearing a placard that reads “LEPER UNCLEAN!”(2) and ringing a warning bell.

  1. Ironically, actual leprosy, properly known as Hansen’s disease, really isn’t very contagious.

In other words, you can’t go anywhere or do anything when you have “pink eye.”

Not that I’m in any shape to go anywhere or do anything in the world (though I finally discovered that I can actually sleep if I take, like, four different decongestants and a cough suppressant before bed, and then keep the cough suppressant handy for the inevitable 4 AM coughing fit, so I’m feeling marginally perkier today).

Anyway, I seem to have wandered (for now!) past the Bitterness and Recriminations phase of being ill and found my way to the Jovial Self-Deprecation phase, so that seems like progress. 

Back to the doc tomorrow to (one hopes) roust the dreaded Fire Ants both from my respiratory tract (which they’ve petitioned to rename Solenopsia) and from Fort Pinkeye for good. 

Here’s hoping they won’t be back for Round 3,because ballet blogs should be about ballet, not about the only thing that can turn a dancer into a whinging heap of goo.

Until then, I will try to remember the motto of my poor, besieged Inner Buddhist, who is trying very hard not to let the rest of my Inner Populace run away with their whinginess:

Here Is Fine.

Just Monday: A Meditation 

I wrote on Friday about gratitude, and also about the company of fire ants living in my throat. 

I was in denial. I knew that the fire ants (which had first made themselves known on Tuesday) were probably the opening salvo in the battle with another respiratory infection, but for various reasons, I didn’t want them to be.

I didn’t want to acknowledge the nature of my fire ants because, frankly, it’s frustrating to be sick. 

Health-wise, for me, this has been a phenomenally good year. I have gone months at a stretch without getting seriously ill. I have recovered from things more quickly than I expected to. I have actually had a couple minor viral illnesses that didn’t lead to secondary infections.

When I put it like that, though, it feels like a pretty low bar.

I’m a bit of an anomaly — or, rather, I’m something that America’s approach to health, which remains firmly rooted in Puritan ideals, doesn’t know how to place. On paper, when I’m not ill, I seem pretty robust. Tons of exercise, good basic diet, excellent vital stats. Allergies and asthma, of course, but I live in the Ohio River Valley. I have even mostly learned to listen to my body, my wonderful and obedient body that will allow me to push it ludicrously, when it asks me to rest.

According to the American ideal, I should be and stay as healthy as a horse (which, frankly, is an idiom that can’t have been coined by a horse person). But I’m not, and I don’t. 

I am still someone whose immune system, for reasons nobody understands, just isn’t that great. I catch things that are, for other people, innocent little colds, and they go rogue. I am terribly prone to secondary infections. I get sicker than other people and I take longer to get well. 

It’s worse when I don’t take care of myself or acknowledge the limitations that circumscribe my choices (I can ride my bike hard in cold weather if I’m willing to pay the price in terms of respiratory problems that inevitably lead to infections; I can adopt a schedule that approaches typical American busy-ness if I’m willing to acknowledge that my immune system will respond by going on strike). 

But it is what it is even when I’m doing everything I can to take care of myself. This is my reality.

~

This weekend I talked with Denis about some of the ways in which I’ve historically felt conflicted about my body, and how I’m beginning to understand that I need to stop looking at it from a dualistic, one-or-the-other point of view.

Maybe the same can be said for my health. 

Maybe it’s time to stop thinking of it as either-or, and start thinking of it as and.

Like, maybe I should take care of myself as best I can, enjoy the periods in which I stay well for an unusually long time, and gracefully accept that I’m still going to be prone to infections that will, from time to time, knock me flat for longer than they should. Maybe I should try to accept that one does not invalidate the other, and to be kinder to myself about all of this. 

As a dancer, it’s hard to accept any of these conditions. As a dancer, and as a human being, I find it easy to accept my gifts and hard to accept my handicaps.

One set of conditions propels me forward; another holds me back. I am inclined to forget that this trade-off is universal — everyone’s tally sheet has entries in both columns. Maybe my peers in the studio don’t have immunity challenges that can keep them from dancing for weeks at a time, but they have other struggles. Maybe those struggles don’t affect their lives as dancers, but they hit somewhere. 

I feel like there’s a profound lesson in not clinging to phenomena here — both in the sense of not clinging to the phenomena of health or illness and in that of not clinging to the phenomenon of dancerness. I’m not sure how how to put those thoughts into words, though.

~

We live in a culture that treats illness like it treats fatness — which is to say, as a question of moral failure. 

People who rarely or never get sick tend to announce that status with a kind of prideful tone that suggests that they are somehow morally superior, even if in the same breath they say, “…and i don’t do any of that health-nut BS,” and scarf down a Whopper and half a bag of Cheetos. People like me, on the other hand, and regarded with a degree of suspicion, even (maybe especially) if our lifestyles should produce unequivocal good health. 

When I find myself forced to explain that I get sick easily and that my immune system just kinda doesn’t do its job very well, I almost always receive a bunch of advice about what I “should” be doing to fix it. I get get tired of explaining that I’ve basically tried everything; that, yes, it’s worse when I don’t take care of myself but it’s never going to be normal; and that much of what people suggest is complete crap founded in pseudoscience (I do try to be polite about that). 

I get tired of explaining why n=1 makes a great basis for an anecdote but a poor basis for an axiom. I get tired of re-asserting the fact that neither goji berries nor a strict Mediterranean diet will “cure” me.

I get tired of the implicit and usually-unexamined assumption that anyone who isn’t a shining paragon of good health probably just just isn’t trying hard enough, or isn’t trying the right things. Sometimes that may be true, but often it’s not. 

My crappy immune system isn’t the result of poor habits or poor morals. It’s the result of poor genes — with the caveat that the same set of genes that saddled me with this burden has also given  me the gifts of talent, strength, flexibility, coordination, off-the-chart spatial processing, a powerful musical sense, and the intelligence to use all of those things to make art.

This, by the way, keeps me humble. 

I know that my crappy immune system is not a question of effort or a measure of moral turpitude. By that same stick, I can see that the things that make a good dancer are, likewise, random gifts. Morally speaking, they do not make me a better person. In fact, morally speaking, they have sometimes made me a worse person — a less compassionate person; a more self-aggrandizing person. Thank G-d for crappy immune systems and for ballet, both of which are really good at teaching us humility when nothing else will.  

I try to make the most I can out of the gifts I’ve been given, but sometimes the things in the “debit” column get in the way. I suspect this is true for most of us.

Most of us are just muddling by ,trying to do the best we can, fairly often saying to ourselves about about many things, “There, but for the grace of G-d, go I…”

On which note, I’ll close, because I’m hoping to go back to sleep for an hour or two. 

I’m still working my way through this particular thicket, though. More later, perhaps.

Turkeygeddon

I mean, Turksgiving. 

Wait, no. THANKSGIVING. That’s what it’s called! 

Public gratitude posts are are a thing. 

I don’t normally do them, but I’m (mostly) cool with people who do. 

I’m kind of doing one this go-round, in part to take my mind off the fact that my throat has, since Tuesday, developed a wicked itching-burning thing that A) makes me feel like I’ve swallowed a snifter-full of angry fire ants and B) makes me cough, which makes the fire ants even angrier.

I suppose I should begin by being thankful for for the existence of of cough drops, because unprintable words this is driving me crazy. 

Nice quiet day at home yesterday. I finally transitioned from Trim Painting hell into Trim Painting Purgatory. I’m grateful for that, because jeez. 

Also, I am grateful for  ballet, modern, and aerials, which keep me sane (fire ants notwithstanding), grant me membership in a phenomenal community of amazing people, and give me something to do with my creative energies. 

I am grateful for my astounding husband, who manages to keep a roof over our heads despite my best efforts to completely drive this little train of ours right off the rails (note to anyone considering marrying an artistic type: we can be very responsible, but some of us are prone to long bouts of throwing ourselves wholesale into our work at all costs, and those of us who who dance can be expensive to feed), and the strange beast that is our family, with its many branches staggering off in different directions. 

Also for mixed metaphors, without which it might be much more difficult to describe snifters full of fire ants, the glorious chaos that is family at its finest, or probably anything at all about dance or home maintenance. 

Lastly, I am grateful that, at least at the moment, I still have medical coverage, so if these unspeakable, unprintable fire ants don’t GTFO soon, I can go see a doctor about about them.

Oh, yeah — and also for everyone who, for mysterious reasons, reads my blog, and for all the amazing and inspiring bloggers out there. 

Problem-Solving Dreams 

Apparently it’s pretty common for people to solve creative problems (and even scientific problems!) in their dreams. 

This happened to me the other night. I was iffy about the opening of Adagio Cantabile/”The Pest”. There’s a double turn programmed right out of the gate, but I wasn’t sure I liked the way I had implemented it. 

The other night, I dreamed I was performing that piece and opened with:

B+
Sweep through
Demi-rond to 2nd
Turn from second
Turn à la seconde

It felt awesome, scanned perfectly, and allowed for a smooth, strong transition to the next phrase, in which the first real step is a sauté 4th arabesque. 

The only problem? 

My turn from second is reliable, but I wasn’t at all sure about about the turn à la seconde in real life, even though I did it when learning Albrecht’s variation back in June. 

Anyway, tried it tonight after Trap 3 and found that, in fact, I can do this thing (thanks in no small part to a bit of advice that BW gave me last Thursday).

So that was pretty cool. 

Calendar Boys

Our friendly neighborhood photog, Kevin, has created a 2017 calendar of images from performances and workshops at Suspend and, by happy coincidence, Denis and I are collectively Mr. February (I’m a February baby).

The image he used is one of my all-time favorites, captured during our dress rehearsal/tech run of “Duelo Trapecio.”

I love this shot so much.

In a lot of ways, this image speaks to the best gift that Denis has given me: specifically, a stable foundation from which to fly. 

Literally, in this picture, I’ve just mounted the trapeze from a candlestick:

…Like this, only in parallel, legs together.

…and I’m lifting my body out of Denis’ hands so he can roll to the side and I can beat up to a pike balance. (Technically, in this choreography, that’s all one move for me: I use the muscles of my back to pull up into an arc, release my back à la Martha Graham at the top, then allow momentum to carry me around the bar and the act of straightening my legs to pull me into the pike balance.)

As these things go, it’s a fairly basic acro-to-trapeze transition, but it’s not without risk.

In this sequence, timing is crucial — if he releases before my knees catch the bar, I have a split-second to react so I don’t pile-drive into his face and potentially break my own neck. If I enter the swinging phase of my beat too soon, I’ll whack him in the head with my hands or head at high velocity.

Likewise, if (as happened in the night of our first performance!) something goes wrong(1) and the trapeze isn’t where it should be, it’s up to me to gracefully exit the candlestick without making both of us look like idiots (hello, walk-over), and up to him to proceed smoothly with his portion of the choreography. 

  1. What happened, in practice, was that D somehow got blinded by the stage lights during his transition from the previous sequence (in which I cartwheel and he catches my legs) and whacked his head on the trapeze! It’s on a rotating point, so it turned 90 degrees and wasn’t there when I reached the apex of the candlestick. Thank G-d for the billion years of training and preparation that made me steam right on through with a walk-over followed by a straddle mount. 

Metaphorically, he has grounded himself so I can reach my goal (the trapeze) and soar. He has lifted me up without hanging on. I have trusted him to support me, and he has trusted me to take care of myself and of him.

As a model for relationships, there’s much to be said in favor of partnering. Each party must do his or her share of the work, each party is accountable to the other, and when both parties do what they need to do, the result is a beautiful harmony of movement; poetry in motion indeed. 

When things go wrong, as they sometimes do, the dancers or aerialists in a good partnering relationship are able to respond accordingly — and while nothing can prevent all harmful outcomes, the care and attention that go into this kind of work allow for damage control through rapid-fire adjustments (and the kind of trust that can think, “I get that you’re presently holding me up by my unmentionables so I won’t fall and break my neck so later we can laugh at this trainwreck instead of crying about it…”).

Perhaps most importantly, though, a good partnering relationship allows us to accomplish things we cannot do alone — like a pas-de-chat that floats two meters above the ground, or (as in our example above) mounting a dance trapeze from a handstand(2).

  1. In an unassisted handstand, this trap hits too high for that. I could manage an ankle hang, or I could maybe mount from a front handspring, but a regular handstand won’t get me to the position depicted.

    A good relationship of any kind, really, allows us to accomplish things we couldn’t on our own. 

    I am able to pursue my dreams because I have a strong and stable partner helping to lift me up towards them. I hope that I am, at least to some degree, doing the same for D. But it’s not only romantic partners and spouses who can do those things — good friends, loving parents and siblings, and even our peers in the dance studio lift us towards our dreams.

    Just as ballet partnering depends not on romantic attachment(3), but on consistency and trust, so with the relationships in our lives that allow us to fly.

    1. Not that I would deny a certain kind of romantic sensibility that can evolve even in the most most platonic of these relationships — but that’s a topic for another time. 

    I am, of course, planning on buying a copy of Kevin’s calendar for our house (and for my Mom and Mother-in-Law, as Christmas presents). It will help keep him in photographic equipment so he can continue to grow as an artist and to take amazing pictures of all of us that sometimes manage to say a great deal about important things. 

    It’s A Sign 

    Went to class tonight. As she prepared to give us the waltz, Trainee L (who gives a very fun class) announced, “I woke up this morning thinking about Renversé!”

    Evidently, my life at at the moment is all about the magic of renversé. 

    Monday night is a beginner class, and renversé was new to many of them. Trainee L did a good job teaching it, though, and I was very impressed with how well they picked it up! And my renversés were rather nice (to make up for my abominable double turns, bleh). 

    Traînée L also picked up on a weird thing I was doing with my outside shoulder at Barre. It may be new, as today I did Barre with ankle weights for the first time, but I suspect it’s something I always do that isn’t usually as visible.

    In other news, beginner class makes me feel like I don’t suck at petit allegro, except insofar as I keep wanting to put in a balonné where there isn’t one.
    Don’t worry, though, I’m sure my next advanced class will put me back in my place. 

    Break (Almost) Week; Reflections on Renversés and Choreography as a Process

    Saturday, I spent four hours teaching, several more hours scraping paint, and two hours composing choreography before we went to a party that was actually very fun. Sunday, after acro and Acro Brunch, I spent an hour running choreography, then another hour teaching, and then untold æons (with, so really an hour and change, maybe two) standing on a ladder and painting the house while my hands froze in a chill wind in spite of my gloves(1).

    1. Note to self: wear winter cycling gloves next time. They’re wind-resistant.

    As such, I opted to stay in this morning, do housework, and take evening class instead) even though I should really get back to doing Modern Mondays). 

    The piece I was working on Saturday evening and a Sunday is essentially a 5-minute long comedic story ballet set to the 2nd movement (adagio cantabile) of Beethoven’s Pathétique. I programmed in a few renversés, and I realized while I worked the piece that not so long ago I wouldn’t have even thought of them. They just wouldn’t have occurred to me. 

    BW and JP have really tuned up our renversés this semester, and as such they seem perfectly natural now. I put them in more or less by instinct where the music calls for them and the movement leads to them.

    This is, in fact, true of a lot of movements in the classical vocabulary. Many things feel perfectly natural now that wouldn’t have a year ago. 

    I think I’ve discussed my tendency to get get to the studio and instantly forget every step I’ve ever learned, then devolve upon programming a bunch of piqué turns and ronds-de-jambe (sometimes while thinking, “How do I get to the jumps?! Ack!”).  I also used to open every adagio piece with essentially the same sequence of développés and adagio turns that open Simon Crane.

    Somewhere along the line, that seems to have changed.

    This surprised me. Ballet is funny like that. It creeps up on you, and one day you discover that you are far more fluent in its language than you thought.

    As a caveat, I must admit that I don’t know if it works this way for people who are genuinely new to dance. I think it might take a little longer in the situation, possibly. For me, the vocabulary was there but largely dormant; I could picture a dance, but when I tried to essentially run dance.exe to execute the dance, it was as if I couldn’t access the necessary files and code.

    Taking class again for the better part of three years has apparently done a great deal of hard disk repair, kicking out the bad sectors and improving the connections between the good ones. The dynamic link libraries are once again accessible; the modules of code that create renversés  and cabrioles are no longer in the land of File Not Found (double cabs continue to elude me: goal one for 2017, I guess; double tours are probably goal two). 

    When I go to create a piece that’s floating around in my head, I rarely lose the piece anymore. The vision and the finished dance usually match pretty well. I still mostly work phrase by phrase — visualizing, iterating, visualizing, iterating, then moving to the next phrase when the current one one seems solid, then eventually stringing them together into parts and finally stringing the parts together into a dance — but that may simply be my work style.

    It also really helps to be able to remember the names of things. Makes writing them down much easier. The downside, though, is that I can now stay up till 1:30 AM listening to music and writing out choreography, knowing that in the morning it will still make sense. Or maybe that’s another upside, because it’s not like choreography didn’t keep me awake before. It just rarely turned out to be particularly intelligible in the cold light of day(2).

    1. Seriously, while working with BB, I have actually said things like: Why did I just write “effacé” there?! Éffacé what?! How? What does that mean? …Did I even mean éffacé? … Wait, I don’t think I meant éffacé.

    So I’m pleased to say that this current piece, which I’ll be performing on 9th December if I can convince a couple of people to join me (there’s a second, far less technical dancing part and one brief non-dancing part), is not just a sequence of RDJs and random turns (it has arabesques, penchés, faillis, renversés, double turns, sautés arabesques, tours lent, and some other stuff, not to mention a grand allegro chase scene in the middle). Progress!

    In other news, this week will largely be a break week, which means I’ll have time to catch up on household minutiae and start rehearsing “Work Song,” possibly, if everyone is available. After tonight, both dance team and ballet are off until next week. This will be a good week for reconditioning. You guys, I am weak. Between vacation and being sick, I have lost a lot of strength and stamina. 

    So it’s back to eating for performance (with, of course, occasional digressions into the realm of pure pleasure) and training for … Erm,  also for performance.

    And housework, because adulting never ends. 
    Edit: PS – Señor BeastMode would probably like me to remind you that:

    Renversé is not a turn.

    The Adventure Continues!

    Derp. This was supposed to post to the old blog address 😀

    Ohai! If you’re looking for Danseur Ignoble/My Beautiful Machine, I’ve moved.

    You’ll find me at:

    danseurignoble.wordpress.com

    Everything else is the same, though!

    Thursday Class: Tour de Force*

    *Yeah, it’s a pun, and a bad one.

    I can’t sleep, so I might as well write, eh?  

    Mostly good barre today (or, well, yesterday). No scary turns-at-the-kneewhacker; got my RdJ en l’air back, extensions were okay-to-good. The adjusted passé/retiré is becoming automatic.

    That said, the frappé was delightfully wicked: facing the barre (universal ballet code for This will either be a piece of cake or hell on wheels), singles (from flexed) en croix on flat, repeat in a sustained fondu, spring straight up to doubles en relèvé, petit battement at maximum speed for a billion (okay, actually sixteen) counts, straight into the reverse, repeat twice as fast, plié, brush out while remaining in plié, close back, other side. Doesn’t sound too hard, but it’s that “repeat twice as fast”  that gets you. It adds up. 

    Also, my petit battement is currently way(1) better on the right than on the left. Feh.

    1.  Or, well — the difference at double-time is definitely enough that I notice it, which is too much. 

    What doesn’t kill us makes us stronger. BW either wants us strong or dead. I’m guessing strong; he’s a sweet guy.

    Also a fondu-adagio thing with all the attitudes and demi-ronds en l’air and the holding the extension à la la seconde until the legs became impervious to pain, plié — inside passé balance for eight, plié — outside passé balance forever, sus-sous, détournée, other side. This was lovely and light and painless except for that à la seconde. At one point BW shouted, “Fight for it!” and I kid you not, that gave me a second wind. Because I adore BW as ridiculously as I adore Ms. Killer B of Wednesday Class fame. Basically, if he told me to jump off the Brooklyn Bridge…

    Also, at one point he touched my foot, and part of me is like I will never wash those shoes again but, to be honest? They’re kinda grungy, and they’re white, soooooooo… .  

    Anyway, at center we did a tendu (or dégage, or grand battement) combination that was all about body facings and épaulement and little faillis and turns from fifth. I did grand battements and doubles on the repeat, since my body finally decided to get with the program and face the right way.and my arms Asiago sorted themselves. 

    We then did a really nice (and simple) terre-a-terre with back-to-back turns from fourth:

    balancé

    balancé 

    chassée – pas de Bourée – fifth

    chassée to fourth

    turn 

    land fourth

    turn

    Sweep through to soutenu turn from croisée to opposite croisée

    sus-sous balance with port de bras

    balancé, etc. 

    Going right, I felt good and managed two easy doubles in  the first three turns, so I aimed for a triple on the third. 

    Turns out that you can, in fact, force a triple through sheer stubbornness, even if if you haven’t got the momentum for it, if you’re willing willing to let it be an ugly triple.

    It was totally, “Around, aROUND, gorammit WE … ARE …  MAKING … IT …  AROUND AGAIN IFITKILLSME!” 

    But it was still a triple. 

    I made up for for it by almost careening into the mirror doing hell turns  chaînes on the left. Apparently, my ear isn’t quite up for those yet, no matter how hard I spot. 

    Also, I travel like a mofo. I managed to eat up the whole floor doing 2 piqué turns, 2 soutenu turns, 2 piqué turns, 4 chaînes. There was a lot of ATTAAAAAAACK! involved. I get a little excited about piqué turns sometimes. I’m even worse about tombé-piqués/lame ducks, though. Frealz.

    So that was Thursday. Today it’s all about scraping the paint, then painting the paint. 

    All the Wednesday 

    Killer Class

    Barre was generally fine except for an occasional creeping-up shoulder and the fact that, for whatever reason, my body was like “HOW DO ARMBAR?” when it came time for RDJs en l’air. Breathing mostly worked.

    Adagio was literally half great and half terrible. It was like my turnouts just gave up on the repeat first side, then got their crap together again for the second side. 

    Turns were less weird today. I didn’t try for doubles going left. That just seemed like asking for trouble. Going right, I cheated myself out of either a second good double or a triple by failing to decide what I was going to do. 

    I bowed out all the allegro because my ear had started to feel odd and I didn’t want to push things too hard. This made me sad, because the grand allegro was fabulous — opened with a renversé, and included two Bounonville jetés, en tournants, and cabrioles. I haz a sad. 

    Dance Team 

    I adjusted the choreography a hair to make one transition less difficult, then added a new phrase. We didn’t have time for more than that because there was a bunch of “housekeeping” stuff we had to do before we got to dancing. This is our week for Saturday rehearsal, though, so we’ll make up for it

    Trapeze 3 

    After a line-dancing warm-up in which I finally understood WTF a “grapevine” is (and the usual array of trapeze warm-ups), we started learning dolphin rolls. I almost nailed them. We also did the reverse birds’ nest (which is basically made for me) and attempted to beat to sit from a crucifix, which I couldn’t do because my shirt was too slippery. This is because I forgot to change out of my ballet clothes, which are definitely not optimal for trapeze. I have this little sleeveless shirt from Sansha that’s perfect for ballet but too short and slippery for any other application 😛

    I also discovered that I have lost my v-ups. Ugh. Back to conditioning with me. 
    I’m too tired right now for tags and stuff — I’ll try to add them in the morning.