Category Archives: balllet

Cold, Comfort

This morning, we were alllllll cold.

Mr. B. gave us a slow, full-body warm-up, which made a world of difference, and class as a whole was pretty good. I fell apart disastrously going across the floor, but it was my own fault: somehow, I put myself in the second group and found myself in Advanced Class mode — which is to say that I came in on the second phrase of the music, and my intrepid partner jumped right in with me, and we promptly became incredibly confused because Mr. B. was calling out the combination to the first group.

Today I Learned that it’s actually quite hard to complete the first phrase of the combination while someone is shouting the second phrase at the top of his lungs. Go figure.

I eventually reined it back in, but for a while there it was hilariously bad.

At least there were double turns today?

Anyway, you know it’s cold when the whole class starts out wearing warm-up trousers and leg warmers and hoodies and three shirts and everything else. Today, it never got warm enough for any of us to strip all the way down to tights and leos only. We debated closing the studio door towards the end of barre, but opted against, because it gets so, so hot in there with the door closed; like, people passing out on the floor hot.

B. drove me home and we worked on Super Secret Plan B, which is now fairly concrete. It may or may not pan out, but at least it’s a plan! 😀

After, I crawled into the tub and read for a long time. These days, I spend a lot of time re-heating my body when it’s cold, because even though I was once a hardy, northern-bred boy, I am now a complete hothouse flower because ballet*.

*To whit: the human body doesn’t really do all that much to adapt to cold, but it adapts to heat like crazy. When you spend oceans of time sweating your butt off in a very warm dance studio, you tend to develop excellent adaptations for heat, but when you walk out the door at it’s -5 C and your body has lovingly prepared itself for Miami in July, you freeze your huevos off.
Better winter clothes would help, but we don’t get that many days that are really, really cold.

This evening, Denis and I tried the Fitness & Flexibility class, which combined challenging conditioning exercises (try hanging upside-down with your legs pointing straight up, then touch your toes as many times as you can in a minute**) with stretches that were adaptable even to ridiculous noodle people like myself.

With the supervision of a qualified instructor, of course.

I actually managed to get my butt off the lyra while doing “baby pull-ups” (ha!), so I’m definitely making progress***.

***Sadly, this means I will lose the Very Best Excuse Ever: “Sorry, I have basically no upper body strength, I can’t help move that fridge/bath tub/sofa.”

Last week I just, like, engaged all the muscles and … nothing. I just sat there straining and contemplating my place in the universe (which, at the time, seemed to be, “Right here, with my butt on this lyra.”). This week, I managed to do 11 “baby pull-ps” on the first round and 13 on the second round (F&F, like Conditioning, uses a circuit-based approach).

I noticed that staying warm in F&F was more challenging than in ballet — in part, because it’s colder in the aerials studio than in the ballet studio (except maybe in Studio 5, which gets COLD), but there were also a couple of other factors.

First, the aerial apparati…es? really work better when you’re not wearing a bunch of warm-ups.

Second, ballet simply generates more heat — though possibly not more than the stuff the more advanced aerialists are doing, which involves more constant motion.

I get really hot in the ballet studio in part because the muscles in my legs are fairly enormous. They’re constantly in use and they generate a lot of heat, so I get really warm.

So, anyway, there you have it. This week is all about figuring out how to stay comfortable in the cold while being an admitted hothouse flower (or tomato, as B. put it this afternoon).

More to come.

À bientôt, mes amis!

PS: We have some good new pictures of Denis from Sunday, but he didn’t take any of me.

Wednesday Class: Less Tired This Time

Barre today was challenging: Brienne stepped things up a notch, bringing in changes of body direction in long combinations. I got many, but not all, of them.

I continue to try to focus on using my inner thighs, though it’s a greater challenge while also trying to remember the direction changes and whether to go en croix and trying not to kick the taller of the two new guys, who stood beside me today.

I’m really glad they came back to class. I feel like their presence enriches the class; they’re both good dancers who work hard. Taller Guy* has impressive splits!

*For the record, they’re both taller than I am, maybe even just plain tall — but I’m right on the borderline between average and miniature. Still, I don’t know their names, so for now they’re going to be Taller Guy and Smaller Guy.

At center, we did a pretty, but hard, adagio with … erm, fondu devisé? Something devisé, (edit: turns out it’s divisé — divisé en quarts) short for anyway (edit: also, I have no idea what I was trying to type here; autocorrupt was cray this afternoon). My phone is being weird, so I’ll have to look it up when I get home.

Turns were better. I had doubles from fourth, though not as consistently as I’d like.

Our grand allegro combination was fun — Glissade, jeté, glissade, jeté, step-grand jeté, step-grand jeté.

I did it well enough at first, but as I got tired my legs kept wanting to put extra glissades in after the second jeté.

Still, I was less tired today than I was last Wednesday — much less tired, in fact – and I felt stronger last night in aerials class. My tuck dismount on  trapeze and silks is no longer just an uncontrolled unfurling 🙂

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I think I will be able to adapt to this training schedule, and since I wasn’t sure, I feel good about that.

There are more days in my life now on which I look at myself as I undress at the end of the day and I think this part or that part of my body is beautiful. Rarely, I even think the whole thing is pretty decent.

This is a huge step forward: I never used to have any of those days. I used to pretty much hate my body all the time.

Ballet and aerials are changing that in a way I never expected. I used to hate it — and, honestly, I often still do – when people would respond to my feelings about my body, which were the irrational result of deep-seated dysphoria, with so much pablum about how much my body could do.

I don’t think being reminded of that on a rational level helps any more than does telling someone with depression to buck up because at least they don’t live in a Siberian prison camp. That’s not, as it were, how any of this works.

But doing amazing things with this body, and discovering it to be strong and graceful and capable, has really helped — as has exposure to the wild array of beautiful male dancers’ bodies, into which my own body increasingly fits.

In short, ballet and aerials have altered the scope of my inner sense of how my body should look (a concept that’s more complicated and less rational than it sounds). Constant exposure to my own reflection, meanwhile, has adjusted my sense of how my body does look.

I suspect that I still often literally see a distorted version of myself, but the maybe the distortion isn’t as bad as it once was.

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So that’s it, today. I’m going to go home, take a hot bath (in which I will read La Dame aux Camélias in the original, maybe), foam-roll my legs until they fall off, and then do some work stuff.

I used to think that my body dysphoria and anorexic thought patterns would never, ever, ever change. Now I’m not so sure, and that feels like a good thing.
À bientôt, mes amis!

Edit: PS, my ear behaved itself today. Woot!

The Show Goes On

Last night, I wrote about how sometimes living with bipolar feels like walking a tightrope; how the only way to survive is to keep your eyes up and keep moving forward.

Ballet is the thing that makes me able to do that.

This morning, getting up was a complicated, but I did get up, and I made it to class.

..And I’m glad we did, as we had four new dancers (new to class, not new to ballet), all of whom were quite good, and two of whom were guys.

Barre went well except for the double-rond-de-jambe-and-frappe combination, which went badly at first because I apparently brain-dumped it right at the start. I remembered it before we started the second side, though.

I also miraculously remembered how to sissone (though my turns … oy vey … my turns) and did the assemblé-sissone-chassé-jeté combination fairly well (after the first time, during which I failed to put my working foot down between the sissone and the chassé and turned it into some kind of awkward saut de chat).

In case you’re wondering, by the way, I think the entirety of that combination went:

assemblé (à droit, R foot back, no change)
sissone (avant)
chassé
jeté

assemblé (à gauche, L foot back, no change)
sissone (avant)
chassé
jeté

assemblé (à droit)
jeté
jeté
jeté

assemblé (à gauche)
jeté
jeté
jeté

…though I may be combining it with the other petit allegro combination we did (glissade-assemblé-jeté-hold; glissade-assemblé-jeté-hold; etc) come to think of it. Regardless, it was something very much like that.

In short: not difficult, but a mild brain teaser, since you have to get the directions of your feet right and there’s a little change of direction entailed in the sissone. It was also a nice-looking combination, and one of the new girls did lovely little battus on all the jetés on our first run.

It no longer feels weird to start a combination with assemblé

There is definitely a part of me that likes to show off or something in the presence of other male dancers (particularly when they are not so much better at dancing than I am as to make me look patently ridiculous). Today, it worked — my dancing was better overall than it was at any point last week, and although my turns were a tad wild and sloppy, they weren’t as horrible as they might have been.

It’s weird (if unsurprising) how much what’s going on in your head can influence your dancing. Saturday, even before the disaster with my ear, I was tired and achy and didn’t feel like I was going to acquit myself respectably, so I didn’t.

Today, I wasn’t thinking about any of that. Instead, it was like I had a little Japanese grade-school kid from some monster-battle anime series in my head saying, “Let’s do our best!” (“Jeté battu, I choose you!”)

Bizarrely, that worked. And we got to do saut de basques, which I lurve. And my assemblé looked good — high and suspended and not afflicted with horrible kraken arms or an unnecessarily curvilinear torso. So, huzzah. I suppose once I’ve had that nailed down for a couple of weeks, I should tried to put a beat back into it.

Because we do oceans of beats in advanced class, I’m really focused on using my inner thighs during barre, closing every tendu, degagé, and jeté by pulling the inner thigh muscles together instead of pushing in with the quadriceps (as if I was pedaling a bike or something).

When one uses the inner-thigh muscles, one tends to automatically engage both, maintaining alignment and placement; likewise, getting to a solid fifth between jumps is much easier.

Think: glissade to fifth, giant plié, brush out from plié, grand assemblé, for example. The working leg is carried by the momentum of the initiating brush, then the quadriceps (and some other muscles) in the supporting leg provide the spring; both legs are collected inward by the engagement of the inner thighs; the plié tension-loads the spring again; then a second brush (from the bottom of the plié) carries the working leg out and up, the quads (and related muscles) in the supporting leg push through to activate the spring; and the inner thigh brings the second leg up to meet the working leg.

Without the collecting movement from the inner thighs, a solid fifth position is unlikely; without a solid fifth, the grand assemblé is unlikely to be as … well … grand.

When one uses the quads, the body tends to shift towards the working leg, which pulls the balance away from the ball of the supporting foot. “Things fall apart, the center cannot hold,” &c.

As in cycling, the quads should be used mostly for pushing down; you need them to give you explosive power during jumps. When you pull in, you use the inner thighs; when you lift into passé, the impulsion comes from under the thigh and buttock. Incidentally, this also prevents that thing where your leg grips itself into a horrible spasm as you développé.

All this actually makes it much easier both to keep my knees straight and to maintain my turnout. It also makes maintaining balance and placement easier. I did the first set of fast degagés sans barre (7 each way x2; then pliés to relevé), though I did take the barre for the second set, which was really, really fast.

I guess I also need to get back to focusing on carrying my upper body directly atop my hips. This really imparts a surprising amount of lightness. I found myself doing this today as a function of not trying to look like a dork in front of the new dancers, and as a result, my work at center and going across the floor looked pretty good.

Aerials should help with that, as part of the problem is an imbalance between my back muscles (those “arabesque muscles” again) which are ridiculously strong (because I have spent a ridiculous amount of time cultivating a beautiful arabesque and a lovely, controlled penché), and my core muscles, which are not as strong (because I am lazy).

In short, this is what happens when we focus more on our strengths than our weaknesses … the weaknesses get weaker. Because I’m flexible and can get into a really nice arabesque as a result, I seize every single opportunity to use my arabesque.

Need a teacup on a high shelf? Arabesque. Need to hand something to Denis when he’s standing a half-meter or so away? Arabesque. Collecting Denis’ empty glass when he’s sitting on the sofa? Arabesque penché.

But do I work my core muscles anywhere near as much?

Hahaha. No.

Aerials are all about the core, though, so that will get fixed.

In other news, on the way home from class, I learned that David Bowie had died.

It was startling, in a way, because I was just listening to some of his stuff from Blackstar last night and thinking about how cool it is that he’s still creating and innovating in his late 60s.

Bowie contributed a great deal to the cultivation of popular music, and it says a great deal about his work that he will be sorely missed across several generations.

I don’t have much more to say about that right now, though. What do you say when an icon falls?

Someone I know on facebook said it best: Imagine the ticket lines in Heaven for the Bowie-Mercury reunion show!

How A-Muse-Ing

Is it just me? Am I the only one whose choreographic muse must be living in another time zone where it’s five hours earlier? Or do they all do that?

Like Dancing While Drunk

Today, barre was fine, though I was tired and a little sore when I started and wasn’t super on top of getting all the combinations exactly right.

I wasn’t quite in, “Meh, close enough,” mode, but I was a little more forgiving of myself than usual. I still managed a few decent balances (yay attitude derrière!) and responded appropriately to corrections and so forth. This has been the first week in a long time that I’ve had a demanding physical thing every single day, and I’m using a lot of muscles that haven’t really been doing much, so I expected to be tired.

Still, I acquitted myself acceptably at barre.

Then, the wheels came off (it’s been a while since I had occasion to use that phrase, though).

I think I’ve probably mentioned the recurring weirdness with my left ear. It now occurs every class, but usually it’s at the very end, and it’s not too bad.

Today, however, my ear freaked out right as we transitioned to center — right in the middle of a nice little tendu-et-pirouette combination — and never let up.

Suddenly, I was more or less deaf on the left side, and the sound of my own breathing was impossibly loud. I largely pick up combinations by the time-honored “monkey see-monkey do” method.

In Advanced class, though, significant steps don’t always get clearly demonstrated. If you can’t hear the instructor, it can be hard to tell if something is supposed to be some species of jete en tournant sketched out on the ground or maybe a pique turn (also sketched out on the ground) or even a balance turn, or what have you.

Really, almost anything can be demonstrated as just a sketchy little turn turn (including, apparently coupé jeté en tournant).

So suddenly I found myself desperately playing catch-up, trying to follow the combinations in the mirror while also doing them (which worked reasonably well, under the circumstances — certainly better than it used to). Worse, my entire nasopharyngeal region decided to join in the fun, so when I tried to ask a question, I sounded like I had barshballows stupped up by doze.

I was like:

“Sguze be. Duz dat zeggund pique gum bright auddove de baladzé durn, or ab I bizzig a zteb in dare?”

You might want to read that aloud for the full comedic effect. Don’t worry, I’ll wait.

…And we’re back.

So, the ear weirdness also made me dizzy (and slightly nauseated, which seriously didn’t help) — or, really, more like off-kilter. I generally experience a sensation that’s not unlike trying to stand on a boat that’s listing to starboard (which makes you lean towards port).

You guys, it is hard to promenade when it feels like the promenade deck is sliding into the trough of a wave.

The ear wasn’t as bad as it has ever been — when it’s at its worst, I can’t walk in a straight line, let alone dance; I stagger merrily sideways unless someone grabs hold of my shoulders. That said, this is the worst it has been in class.

So my turns were, um, interesting.

One of the combinations had double turns from fourth (which I have, of late, been able to do somewhat reliably), and I tried them, and … ehhhh.

Apparently, when your middle and/or inner ear are throwing a tantrum, you can totally make two rotations*, but there is absolutely no guarantee that you’ll have any idea where your axis really is, and your landings will be interesting. I actually stepped over myself somehow, at one point — as if I was trying to follow the pirouette with some kind of bizarre, inside-out coupé jeté en tournant.

*Presumably because you can still spot twice, and amazingly, that makes your body go around again, since it doesn’t want to snap its own neck.

This is what happens when your vestibular system says, “Wait, the floor is that way!” and your visual system replies, “Jeez, vestibular system, you need to lay off the sauce!”

After which, of course, your foot says, “Hey you guys, I found the floor; it’s right here where we left it!” and, if you’re lucky, it has done so without spraining anything in the process.

Likewise, trying to ballotté was just … ummmmm … yeah. It turns out that if you’re used to using epaulement in ballotté, it’s hard to make yourself stop even if it makes the whole world lurch violently*. (Seriously, have you ever tried to ballotté without epaulement? Has anyone? I have trouble even picturing that.)

*If there was an earthquake in your region around 10:10 AM Eastern Standard Time/GMT-5, my bad.

Who knew?

I thought about bailing, but stuck it out through class (The Show Must Go On, n’est ce pas?), including a lovely réverence which I performed almost decently, but with the blackest of scowls writ large upon my beetling brow because I was Concentrating. So. Hard.

Afterwards, I felt compelled to explain myself and apologize to Ms. T for being a complete disaster. She said something like, “No worries, we all have those days,” which made me feel a whole heck of a lot better.

Then I pedaled my bike slowly, miserably, and carefully (for fear of tipping over) over to Suspend to meet Denis for juggling class.

I would like to take a moment to thank G-d that Suspend is only like three blocks from advanced class! (And that advanced class takes place at the main studio downtown, and not at the school studios 8 miles or so from downtown).

Anyway, juggling started out a little tippy, then got progressively better as my ear settled down a little (when it’s doing its thing, being hot and sweaty and breathing hard makes it really go crazy).

By the end, I was able to keep three balls going for up to six throws at a time, which is much better than I expected to do. I also didn’t nail any aerialists (though I almost did, once, at the very beginning).

Juggling

Oh, here it is. I look like the dog that goes, “You … you mean the maple kind?” in that one voice-over video. Also, these are the best socks.

Denis snapped one great shot of me that looks like … well, basically, me standing there and waving my hands around with a look of rapt concentration on my face — or at least, that’s how it looked on the tiny screen of his phone. I’ll have to gank a copy from facebag to post here.

For some reason, I assumed I’d be terrible at juggling, but it turns out I’m not. Who knew?

After, during open fly, I just foam-rollered myself into oblivion for a while. At moments, this just involved me lying there on the floor, doing nothing, with a foam roller under some part of my body.

Then I spotted Denis through his first two headstands ever and got him to spot me in a couple of handstands just to see if I can still do them. Seems as if I can, even while still slightly tippy, though the tippiness makes correcting really hard if I get out of alignment.

At this point, things have calmed down enough that the listing sensation is mostly gone. I think I’m going to duck out of conditioning class tomorrow, as I feel like a rest day is in order (not so much because of the ear, but because I am just freaking tired).

Then I’m going to try to get an appointment to see my doc about this, because it is driving me crazy. I have reached a point at which I can cope quite well in class if it doesn’t get too bad, but today was just terrible.

Oh, one last bit: turns out the application I thought was due on the 15th isn’t due ’til March 15th, so that makes my life a hair easier, anyway (which is good, because I’d really like to see if I can get my ear sorted before I shoot any more audition video).

So that’s that. I still have some evaluation stuff to do, because procrastination and other such balderdash. Second interview is Tuesday afternoon.

Ballet, Meet Cirque

Acro-Balancing tonight. It was fun, although quite challenging at times.

I discovered that being all legs makes mounting more challenging, but balancing easier when you’re the flyer. It makes being the base kinda weird sometimes — thigh stands are okay, but short arms and long legs makes a steep mount in foot bird or candlestick.

Ballet also makes a lot of it easier — if you have a good arabesque, you know how to use the muscles in your back for the foot bird.

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This was just before Denis got wobbly on me. He thinks it's gorgeous; I, of course, notice that my feet could be more pointed, my legs aren't even, my neck is tense, my...

I also discovered that I can still do a tripod headstand forever and ever and do cool stuff with my legs during. I’ll have to see if I can get my handstands back. They are awesome for for stability and balance, and I think that would be handy (no pun intended, I swear) for partnering.

Wednesday Class #2

Lovely mixed-level open house class tonight. I took it as an opportunity to focus on expression and musicality, mostly. I also worked on pelvic placement, particularly in our fondue and rond-de-jambe combination, and at least once got it really right. I can feel it when it’s right; it magically makes grand rond-de-jambe work perfectly at 90 degrees.  Well, that and bringing the heel around as you come from arabesque when going en dedans.

It was cool to be back in Studio 5, where I took my first steps back into the roiling waters of ballet almost two years ago now. It was especially cool to be sharing a barre with a brand-new dancer, doing my best to demonstrate good port de bras and work cleanly through the combinations.

In a way, it’s like coming full circle. (Because I am ridiculously tired, my brain is now insisting on going all Sir David Attenborough, like, “At last, the mature dancers return to the waters of their birth, where they will bring about the new generation, blah blah blah…”)

My flexibility is now as good as it has been since I started dancing again: effortless splits both ways; pancake in straddle. I’ll work splits where they are for a week or two, then see about regaining hypersplits. My cambré back also looks great. Turnout is much closer to 180 degrees as well.

Anyway, I’m about to nod off, so I’ll close here.

À bientôt, mes amis!

Acro-Balancing tomorrow, which will fill my Yoga slot on the ballet challenge that I keep neglecting to mention, but before that, a little more history review, then evaluations, then bell choir.

The Answer Is Always Pelvic Tilt

… Okay, so not always, always.

But for me, right now, it’s all about getting the pelvic angle just right. And then not letting everything else fall apart.

Surprisingly, I made it through all of Brienne’s class this morning, even though I was definitely feeling Tuesday’s aerials class (which was excellent, by the way). At the start of barre, I really wasn’t sure.

There were, predictably, some awkward moments, but I predict that as I adapt to the new schedule, it’ll get better.

Anyway, I’m definitely pretty cooked right now, but it’s Open House tonight, so Denis & I are going to go dive in to a free class.

I will almost certainly sleep like a baby. Maybe even during class.

That’s it for now; my lunch has arrived, and I’m famished!

À bientôt, mes amis.

Update:

Aerials pictures for everyone!

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He may be a monkey, but he's *my* monkey!

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If you belie—eve ... this is a "Man In The Moon" (I kind of love the way it looks like I'm just napping on the Lyra, here.)

PS: not only are those tights blazingly fabulous, but they are The. Most. Comfortable tights. SRSLY.

Evidently, though, I’mma have to teach Mr. Monkey how to frame a shot.

BeastMode: Ballet Returns

Today’s class started out well, but got progressively less awesome.

This isn’t to say that it was ever bad, except for the last combination going left (during which, for reasons unknown, I couldn’t failli to save my life and kept landing my assemblé without plié — not a good idea).

But it was definitely a post-break re-entry class. Fortunately, Monsieur BeastMode (AKA Brian) went easy on us.

Amusingly, half the class wore purple and black, so when we divided into groups, we had a Purple Group and a Not Purple Group (we’ll call them the Rebel Alliance), four in each.

Sadly, while I like to think that Team Purple (of which I was a member) brought a great deal of enthusiasm to the table, the Rebel Alliance soundly schooled us in the technique department.

Still, I got off a couple of doubles from fourth going across the floor and didn’t completely cock up the petit allegro, though it took my body a while to remember how to Sissone.

I would be like, “Sissone!”

…And my legs would go, “Glissade?”

…And then I’d go, “Sissone!”

…And my legs would be all, “Cabriole! Our favorite!”

…And then I’d go:
>.<

And my legs would go, "Ohhhhhh, Sissone. Why didn’t you just say that?!”

(You know there are going to illustrations later.)

So, um, yeah. If this is BeastMode Ballet, my Spirit Beast today was probably Baby Giraffe.

So that was class. Oh, and I asked M. BeastMode to teach us coupé jeté en tournant, because I believe in us (or something).

It’s good to be back!

À bientôt, mes amis!

To Build A Birdhouse: Why “MyPlate” and All The Lifestyle Guides In the World Aren’t Enough

(Or, well, some of the reasons, anyway.)

I’ve been reading some really good articles about re-framing our cultural conversation around body size and, for once, reading the comments*, and I’ve discovered that, when it comes to talking about things like diet an exercise, many of us lose sight of one really critical idea:

Knowing about a thing isn’t the same
as knowing how to do that thing.

*You guys, deciding not to even look at the G-d-forsaken comments except in special cases has been one of the best decisions I ever made.

I repeat:

Knowing about a thing isn’t the same as knowing how to do that thing.

…And it really isn’t the same as knowing how to do that thing in a way that works for us, that feels good (which is far, far more important than we like to acknowledge), and that lets us keep doing it indefinitely.

If it was, a lot more of us would look exactly the way we want to look (within the limitations imposed by our genetic makeup, anyway — some of us build bigger muscles easily, some of us have long and elegant muscular insertion points, etc.).

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