Category Archives: ID-10T errors

Saturday Class: Grand Faillegro

Oct 29

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It started out so well!

Barre was fine today, with the exception of one strangely derpy RdJ en l’air (which may have been the result result of trying to listen to a general correction and RdJ en l’air at the same time). Adagio, once I sorted out the part of the combination in which my imagination had inserted something completely different, was also fine(1).

  1. Regarding which: you guys, I used to hate adage so very much. I have come to love it. Ballet is weird. Sometimes you fight so hard with a thing that, eventually, the clutch of battle turns into an embrace.

Turns and terre-a-terre were mediocre. We did each combination twice, and in both I was a complete wreck on the first run, but managed to pull myself together eventually. This was particularly rewarding on the terre-a-terre, which involved an attitude turn followed immediately by a turn in arabesque. Just put the heel down, plié the supporting leg, and go whilst simultaneously transitioning from attitude to arabesque. No big…  o.O

I’m working on not attacking my turns as if my goal was not only to murder them, but to retroactively stamp their ancestors from the face of the earth. That made the attitude-to-arabesque bit extra challenging, as the surrounding choreography meant both that one had almost no force going into the first turn but still had to manage to make it all the way around in the second. I didn’t account for that at first and backed my attack down so far that I had to do the Hop Of Shame just to get the attitude turn all the way around.

On the repeat I thought, instead, about keeping my core connected (which was JP’s general correction to the whole flailing lot of us) and actually managed to do the whole thing.

This did not, however, prevent the rest of class from becoming progressively more and more unhinged. In petit allegro, I didn’t mark the combination of even apparently take take it in very well because I was examining my knee, so that was awkward. During grand allegro, I completely blanked on the beginning of an extremely simple combination(2) and failed to go the first time; the second time, I started thinking and thus danced with the consummate grace of a drunken penguin attempting to negotiate a stairwell. As I finished, I said to no one in particular, “I’m a disaster today.”

  1. Edit: I feel the need to explain how how very very simple this was. Seriously, the combination was: tombé, pas de bourée, glissade, saut de chat, contretemps, same thing back forth across the floor until you run out of room. 

To cap things off, JP then gave us one job: do fouettés or turns à la seconde if you’re a dude (translation: if you’re me; other dude had gone on to prepare to teach a different class or something). 

Disastrously, I started out trying turns à la seconde, then decided halfway through the first one that I was doing fouettés instead. 

Suffice it to say say that it went downhill from there and ended in shameful stuckness and a momentary feeling that I had no business being in Advanced class in the first place. 

.___. 

So, yes, those days still happen. 

Next week will will be better. Unless it’s worse. But I suspect that it’ll be better, since I’ve figured out what’s irritating my knee. 

Posted in balllet, class notes, ID-10T errors, mistakes

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Thursday Class: On the Spot

Oct 27

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We were back to BW’s Thursday class tonight after a two week break (one week for Swan Lake, one week while I was watching Pilobolus).

It was a good class. Just BB and me, so we got to do a fairly complex (and long!) barre. I tried to remember to relax my upper body, since I realized on Wednesday that when my upper body is tense, I tend to lose the ability to really control my deep rotators.

Sometimes that’s a losing battle, the upper-body-relaxing bit. Tonight, it went fairly well. Sometimes a little too well, at which point my hands when from Don Quixote! to Dead Birds 😦

handy-guide

…Unless, of course, you are actually in “Don Quixote,” or dancing a character role that calls for Emphatic Flamenco Matador Hands. But there is no place in ballet for Dead Birds, unless they’re the Dying Swan, and even she doesn’t get to have Dead Bird Hands because, I mean, like … birds don’t even have hands, man.

Anyway, at barre, BW corrected my grand battement à côte, which I was allowing to drift too far backwards (and, like everyone else this week, got on me about my working knee not being straight in arabesque; for some reason, it has decided to choose this week to give me … ahem … attitude :V).

Curiously, I think this is a new-ish development. I’ve started doing them mostly with the arm in 3rd, because it forces me to keep my shoulders down and, frankly, just gets the danged arm out of the way. Before I adopted that approach, I used my arm as a handy-dandy guide: as long as I shot my leg to the front of my arm, I was fine. Now I need to, like, actually feel where it’s supposed to go.

Speaking of attitude, he also sorted my attitude balance-to-allongé. For some reason, I kept doing it to second arabesque. Have I always done that? Now that I’m thinking about it, I don’t think that I have. That said, I have no idea when I started doing it or why. For all I know, I’ve been doing it like that for a year and it originated as a way to get my arm out of the way without cracking the back of my hand on the wall or the mirror.

We also did a kajillion turns. BW noticed something weird about my spot: I was, in essence, spotting twice — like, getting stuck briefly in the mirror on the way to the actual spot. Apparently, this problem is contagious, because BB was doing it, too.

I very much get how this came about: I’m attempting to watch my turns in the mirror.

Specifically, my wonky proprioception makes it really hard for me to feel whether or not I’m actually snapping my leg to a proper open passé (or retiré, as is sometimes required), and I’ve developed the habit of attempting to catch a glimpse on the fly.

Apparently, that plays havoc with your spot, even though the hesitation it produces is minuscule.

The really annoying part of all this is that it really probably isn’t necessary. Snapping to a proper, open passé/retiré is one of the things I do naturally. There is absolutely no reason for me to be checking that in the mirror when I’m doing turns.

Keeping my foot attached at the knee until I really finish my turn, on the other hand… Eerrrrm, yeahhhhh. Sometimes I start stepping out of my turns a little early. It’s a thing.

That said, I mostly managed to stay attached tonight. Maybe the mini-spot in the middle was the problem?

Anyway, with regard to your working leg in turns, it’s fairly easy to tell whether you’re staying placed: if you can finish in a clean fifth when you do turns to fifth, you’re probably keeping your foot attached. For me, this works for turns from fifth, fourth, or second(1).

  1. Are turns from third  even a thing?

On the other hand, if you find yourself finishing everything in a sort of sloppy 4.5th position, your foot is probably wandering. Or, at least, that’s how it works for me.

So here’s the rundown:

  1. Allongé from attitude: it is not the same thing as an extended second arabesque.
  2. Grand battement à côte: don’t let your leg drift behind you, and if you have trouble feeling where it is, do it in the mirror a whole bunch of times and figure out how to feel it.
  3. Turns: don’t get stuck in the mirror; the extra mini-spot just screws it all up.

Oh, and one more bonus: when you’re doing a simple combination of piqué turn – piqué turn – soutenu  turn – soutenu turn – piqué turn – piqué turn – step-over turn – step-over turn, don’t get so into it that you nearly crash into the wall at the opposite corner.

Pro Tip: crashing into the corner is not how you ballet (though IIRC Nureyev totally launched himself off a stage once, in front of like all the people).

 

Posted in balllet, class notes, ID-10T errors, mistakes

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Wild Wednesday: Missing the Moment

Oct 26

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But first, Killer Class.

This morning, I took a shower for once (to clarify: it’s not that I don’t wash myself; I just don’t usually shower in the morning). While showering, I found myself thinking, “Gee, we haven’t done saut de basque in a while. It would be really cool to do saut de basque.”

Apparently, the Divine Killer B read my mind, because we not only did SO MUCH PETIT ALLEGRO (which I managed mostly to do right), but we did an awesome grand allegro combination with sauts de basque and cabrioles.

So, basically, it was an awesome day. I also learned, by the by, that I’ve been over-crossing my arabesques, which makes my penché glitchy. Killer B came over at one point and was like, “Try not to overcross,” and moved my foot over, and then it was like, “OHAI, FLOOR!” So that was awesome, too.

On the other hand, I really missed the bus on what could’ve been a meaningful thing at DanceTeam practice.

One of the girls, who is actually a really awesome dancer when she gets out of her own way (with which, being middle-schoolers, they all struggle), randomly said while I was drilling some choreography with her and her friend in a breakout group, “I feel so fat.”

Aaaaaaand, I totally dropped the ball.

There are so, so many meaningful things I could’ve said — and while it’s true that probably none of them would’ve taken hold immediately, it’s important to hear those messages.

I could’ve said, “Don’t worry, there’s no one right body for dance,” or “The right body for dance is whatever body you’ve got” (though that one can sound a touch judgmental) or “All kinds of bodies are beautiful” (though, honestly, that might be a bridge too far for someone who’s in seventh grade and wrestle with all the stuff that people wrestle at that age). I could’ve pointed her to some amazing dancers that are shaped like she is, if I wasn’t so terrible at remembering names :/ (1)

  1. Honestly, I am stunnnnnned that I’m actually remembering the names of ALL my DanceTeam girls; it’s a bleeding miracle.

Instead, I sort of choked and said, “You look fine!” and then, over the course of the conversation, reiterated the things that I think are great about her dancing — she has attitude for days and she’s really expressive, which means she has awesome stage presence; that she’s naturally a great mover for the kind of dance we’re working on.

Maybe I should’ve just asked, “What makes you say that?” and tried to listen, but on the other hand, we were trying to get a lot of choreography tightened up in not very much time.

On the other hand, it’s cool that some of the kids feel like they can say stuff like that around me, given that they really haven’t known me very long. It makes me feel like, against all odds, I’m doing okay making connections and putting them at ease (2).

  1. Probably the smartest thing I’ve done so far was to admit that I don’t know from Hip-Hop; that they get to teach me there.

Anyway, I’m going to have to think about this: how not to be caught off my guard the next time something like that comes up, and what to say that will be both concise and, in the long run, helpful. I’ll also check in with AS about that, since she (as an actual middle-school teacher) might have some insight.

So that’s it for now. I have to run off and suffer … erm, I mean, go back to Trapeze 3 after a not-really-intentional two-week break. Eeeeeeeek.

Posted in adulting, balllet, ID-10T errors, life, mistakes, teaching, weight

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Modern Monday: In Which I Psych Myself Out

Oct 24

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Modern Class largely went better today.

It was like my body suddenly went, “Ohhhhh, modern dance!  Why didn’t you just say so?!”

And I’m like, “Umm … it’s in the class title, so…?”

Some of this was the direct result of last week’s tiny class in which TB reminded me that I have no idea where my body is and should probably figure out how to find it.

Not that she put it that way — that was all me. TB always begins her corrections about my weird proprioception with, “You’re so hypermobile, which is great, and—”

So today I managed to remember some of the physical sensations that I’m using as cues to tell myself when I’m correctly placed and so forth. That helped.

On the other hand, I totally psyched myself out on the last combination. It was one that we started working with two weeks ago, then didn’t touch on last week. As TB began to demonstrate, my brain went, “Oh, this is knew,” but then when we started to mark it, I suddenly remembered that it was one we’d done before and found that bits of it were still familiar.

…And then, somehow, I completely lost it. At some point, some part of my brain said, “We are never going to remember this,” and I promptly lost the very beginning of the first phrase :/

So, basically, I totally used neuroscience against myself: I told myself I couldn’t possibly remember a combination that I ALREADY KNEW, got nervous, and not only failed to learn it, but started flying in “reaction only” mode, which prevented me from recalling the familiar parts.

Jeez.

Guys?

Take it from me, don’t do that. It’s the dance equivalent of being like, “OMG, I DON’T KNOW IF I CAN HIT THIS TARGET; I SHOULD DEFINITELY SHOOT MYSELF IN THE HAND NOW.”

On the other hand, someone else mentioned that she couldn’t remember the very beginning, and TB replied that always happens to her in ballet class — which just goes to show you that the familiarity of the movement vocabulary matters. I essentially never forget the beginnings of ballet combinations, though sometimes I forget important things in the middle or the end.

So that was modern this week, and now I need to eat lunch, do a bunch of household tasks, go make DanceTeam happen (AM is sick), and then run away to the downtowns for the ballet stuff.

Posted in class notes, ID-10T errors, mistakes, modern, work

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Finally, A Thing 

Oct 23

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So DanceTeam is going well (though I am still convinced that at any moment our dancers are going to realize that I have no idea what I’m doing and revolt/go rogue/possibly eat me). 

Ballet and modern were less than awesome last week, but the Pilobolus workshop made up for a lot of that, especially the part when one of the instructors tracked me down afterwards and told me I was a beautiful mover with a lot of presence. Definitely one of those “I can die happy now”  moments.

Likewise, today’s Open Fly, during which I started formally building a dance to Hozier’s “Work Song” that’s actually going to happen (Finally!), felt like a leap forward.
Including myself, I have four dancers lined up. Aerial A, who went to the Pilobolus workshop with me, is also in, as are my DanceTeam partner-in-crime and a fellow I know from acro (upon whose very high shoulders I have literally stood). We’ve got a tentative performance date early next year (the performance is a definite; it’s just the date that’s undecided). Aerial A happened along while I was working on choreography this afternoon and we stepped through the first 41 seconds of the dance — at least, as much as we could, since there’s some partnering stuff that requires our compatriots.

Aerial A likes what I’ve got, and I think it’s going to really work.

Needless to say, the explosion of dance stuff in my life is both exciting and a bit overwhelming. I’m still in that phase during which you just kind of white-knuckle it whilst you adjust to your new schedule. Hence less posting. I’m somehow managing to scrape paint off the trim in the midst of all this, also, because miracles evidently do occur. 

This week, we’ve got a dance event on Monday evening (a sort of “live interview” with Wendy Whelan), then I think a “normal” schedule again — wait, no, DanceTeam performs on Friday! 

Anyway, here’s hoping that in class this week I won’t do dumb things like choosing too shallow a line in a bidirectional combination and almost colliding with someone in the next group.

Intensive plans for next summer are also in the works. Aerial A and I are hoping to hit at least one of Pilobolus’ week-long workshops. In addition, I’ll probably go to Cinci and Lexington again. There’s a remote chance of doing Sun King if our finances are okay, but in the current economic climate it’s really hard to predict.

No worries there, though. If I don’t get to go til 2018, I’ll be even better prepared than I will next year.

There are also a few audition-y things on the radar, but let’s file those under, “To Know, To Will, To Dare, To Keep Silent.” At least for now.

So that’s where I am at the moment. Still percolating other choreo projects, especially Simon Crane — but one of them is finally taking off. 

Posted in balllet, choreography, ID-10T errors, life, life management, performances, summer intensives, teaching, work

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Enough! 

Oct 20

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I know I have danced enough for the day when…:

A. class is over. 

B. the third class of the day is over.

C. I have officially burned enough calories that I need to eat breakfast again. And lunch. And dinner. 

D. I lie in bed reading and can still feel my muscles firing while my brain works through the choreography. 

E. My legs are on fire, O G-d, whhyyyyyyyy
…The correct answer, of course, is, “F. NEVAR.”

(In reality, this post was inspired by the thought, “I’ve only put in six hours today, my legs should definitely not feel this sore.O NOES I HAZ AN OUT OF SHAPE!”

Yes, I am ridiculous. Also, pretty sure sure there’s ground glass in my turnouts.) 

Posted in balllet, class notes, ID-10T errors, intensives, modern

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5, 6, 7, 8 — Boy, Can We Procrastinate! 

Oct 18

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I am clearly confused about life right now. 

I’ve jumped into an assistant-coach gig for a middle-school dance team, which is a huge leap out of my comfort zone, what with my background being strictly ballet & modern of the kind that tends to foam at the mouth when someone mentions “dance as a sport.”

That’s not where I’m confused, though. 

While I may be something something of a knee-jerk mouth-foamer about about the concept, I’ve realized that, with the right coach, Dance Team can be a way into dance as art for kids who might otherwise never have a chance. The coach I’m working with, a friend of mine from the increasingly tiny world of dance and aerials, is that kind of coach. Likewise, she and I come from essentially opposite dance backgrounds, and know how how to work together to take advantage  of that, so we make a good team.

I’m totally drinking the Kool-aid, there. 

No — what I’m confused about is this: why am I still scraping the paint on the house when I should be firming up the piece I’m choreographing for the team? 

Or, well … Okay, I’m not really confused. I know what’s going on. I’m just confused about why I’m letting it happen. 

Basically, I’m terrified. I’m afraid I’m Doin’ It Rong; that the dances I create are stupid. 

This is also part of what keeps me from finishing my longer choreography and writing projects. Every now and and then, I experience a spasm of lack of faith in my own vision. 

I don’t, I should note, most faith in my ability as a writer (sadly, the same cannot be said for my flaming case of Impostor Syndrome about dance): I’ve had too much success not to know that I can put words together beautifully; I just fall into fits of thinking my stories are stupid. Then I freeze for an indefinite period of time, after which I return to my projects and continue work. 

Anyway, today I should be making a dance, but instead I’m busy being afraid to make a dance. (I should be making plans for auditions for next year, but I’m paralyzed about that, too.)

I’m writing this so I can see how silly this all is. Maybe someday, I’ll read this and laugh at how silly I was. 

After all, it’s not like I have to go win the Prix de Lausanne the day after tomorrow (besides, I’m over-age for that). I just have to come up with a dance for a group of 6th, 7th, and 8th graders who all seem like hard workers with good attitudes (or mostly-good, which is good enough).
Regardless, I really need to up my procrastination game. Who procrastinates by scraping paint, anyway, FFS? 

Apparently, I do.

There’s also this other thing. Maybe you can relate. When everything starts coming together and landing in my lap, which is totally happening right now, part of me (of course) feels grateful and excited … but another part starts looking around to see if the Universe is trolling me. Like, “Was that a real pat on the back, or did some divine force just stick a kick me sign on there?”

…Which is also totally happening right now (sorry, Universe).

I’m going to force myself to proceed as if there is no Kick Me sign; as of there’s no possibility of any such thing.

It just might take me a little while to really start believing it.    

Posted in adulting, balllet, choreography, ID-10T errors, it is a silly place, life, life management, Writing

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One Weird Thing

Sep 27

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I will traipse happily through a store openly carrying underwear I have not yet purchased.

It seems I will also happily traipse across the studio openly carrying my dance belt.

Once changed, however, I feel weird traipsing back to my cubby or my dance bag carrying my underwear.

So, um, seriously:

WTF, self?

Edit: I just thought, “Well, I wouldn’t have any compunctions about performing in Just A Dance Belt, since that happens all the time.”

And then I realized that, apparently, I have absolutely no compunctions about wandering around in my skivvies at Burning Man.

So, apparently, it’s just carrying my underpants around in my hands that’s a problem?

Posted in adulting, aerials, balllet, ID-10T errors, it is a silly place, kit, life

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This Week In Circus Arts

Sep 21

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So these things happened in Acro 2 yesterday (both photos by Starr Peters, I think? … at least, I know the first one is).

I can only describe the first one as a four-way fold. Basically, you pretend you’re sitting in a chair, and then you grab hands in the middle and lean back into each other’s laps, and it’s like, “By our powers combined, we are Captain Awkward-As-Hell-But-Looks-Pretty-Cool!”

Also, if you have only one person in the fold who feels comfortable sort of exploding up from this position, everyone else winds up falling over.

Ask me how I know, heh.

The other one is what we’ve nicknamed the “Scented Candlestick” (as in, “Trick or treat, smell my feet…”), though it has another name in Yoga.

Because I’m a medium-sized person, I base and fly everything and everyone, and Katie (who I’m basing in this picture) is one of the best flyers I’ve had the privilege of strangling with my feet 😀

Lean on me-eeee, when you’re not stro-ong…
Also, at some point, I seem to have developed at least *some* arm muscles. Also, I should point out that my legs should really be stacked right over my hips, here.

 

In other news, today was my first day back in Trap 3 since I went to the Burn. I was expecting to suffer, but it was a review day, and I pretty much nailed everything … okay, except for that one thing where I forgot that my flexibility means I can dump myself right out of the trapeze, but fortunately I was on the moderate-low trap and could easily catch myself in a handstand.

And then I got back up and nailed that thing, too. I failed to catch the name of it, but it was kind of a bird’s-nest variant that you enter by dropping from a front balance and catching yourself with the backs of your legs on the ropes. The downside of being really flexible is that you can slide right off the bar; the upside is that you can get into a super-cool hang with your knees folded over the ropes and your hands on your ankles (or calves, or knees). I’ll have to get a picture of that next time I’m in Open Fly.

Edit: I also nailed pike beat to tuck-through and full ankle beats during the warm-up. I meant to try long-arm beat to front balance, but forgot. Still, I’ve never even tried to tuck through from a pike beat before, and I think I’ve done ankle beats all of once. All of that, though, owes to the rather extreme flexibility of my back. It makes doing almost any kind of beats much easier, because you can get a better release and therefore more momentum.

We ended class by playing what I’m going to call Improv Telephone: everyone lines up, then the first person mounts the trapeze and does something, the second one does the mount and the first move and adds something, and so on. The cool part is that, being the second-most advanced class on offer, we’re allowed to do whatever feels right, even if it’s not officially A Thing.

The result (in addition to a fun little piece of choreography) was the invention of a possibly-new skill that we’re calling the Mer-Horse (I say “possibly new” because basically everything under the sun has probably been done at one point or another by someone, somewhere, but this one definitely isn’t in our existing syllabus, and our trainers are pretty well-trained).

Also, I discovered that I do remember how to do dragonfly on the trapeze, even though I always get confused about it on lyra.

Ballet today was alllll about the turnouts … and it was a good class. There was so much fondu that we could’ve opened a restaurant.

It was also timely, because I’ve been working on maintaining all the turnout — like, alllllll of it, in both legs. It’s a workout, but it’s paying off. It’s much easier now to step into and maintain a 180 degree first or a legit toe-to-heel fifth (regarding which: when I started letting my supporting leg drift, Ms B. came over and grabbed me by my hipbones 😀 Hooray for physical corrections!).

Anyway, the biggest challenge right now is to keep the upper body light and easy while working the turnouts like the fate of the world depends on it. This ties into what BW kept shouting at me last week: “Use your lats!”

So I’ll be thinking about turnouts and lats in class tomorrow, heh. And about not letting the barre-side shoulder creep up.

And also about everything else, because ballet.

Also, petit allegro is finally improving, which feels like a minor miracle. I thought I was having a mental block about Sissones, but it turned out that it was a physical block: my épaulement was interfering with liftoff. Ms. B gave us a useful note about that: there’s that little side cambre in the port de bras for Sissones changée a côte, and if you start to cambre before you start to jump, you kind of wind up crippling the jump itself.

Ms. B complimented me on my turns, which is huge. I applied Modern T’s note about using my chin to spot, and it really seems to have helped. Ms. B said she’s going to steal it for another one of her students who spots with her forehead like I was … so a big Well Done to Modern T for that catch and the note to fix it!

Posted in acro-balancing, aerials, balllet, class notes, ID-10T errors, improv, it is a silly place, mistakes

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balancé (en tournant) under >.<

After what feels like a jillion years being confused about part of the naming convention vis-a-vis balancé, I just finally (while thinking about how to re-do my balancé video) figured it out.

The over/under ones (en tournant) are named based on where your foot is going.

HERP. DE. DERP.

Having heretofore failed to make this distinction, I couldn’t even properly link the terms “balancé under” and “balancé over” to the concepts of en dedans and en dehors*.

*There is a part of my brain that is perpetually nine years old and always chooses to translate “en dehors” as “in the out” and then snicker about it.

Perhaps unsurprisingly, when someone says, “balancé under*,” what they mean is that the working foot passes behind (sometimes expressed as dessous: under, in the same sense that the leg to the rear is “under” in sus-sous or that coupé dessous means “cut under”) as you come through the turn.

*So, with all the French, balancé (en tournant) dessous, which works out to balancé (en tournant) en dedans.

So, say you’re doing balancé à droit – balancé à gauche – balancé under – fourth?

In the balancé under, you:

grab your Metro strap with the right hand (à la Strap-Hanger Waltz)
brush out with the right foot, step onto it – pivot – plié
as the left foot comes around in coupé derrière
continue the turn as you step onto the left foot and plié
pique back onto the right foot and complete the turn
tombé onto the left foot in fourth

This will make my life so much easier, as it’s easy to miss the distinction if you blink when you’re watching the combination, and it helps to have a meaningful description to fall back on.

Honestly, I have spent so many years going, “BUT IT ALWAYS GOES UNDER THE ARM. I DO NOT UNDERSTAND. DOES NOT COMPUTE! ABORT! ABORT! QWERTYUIOPASDFGHJKetc…”

Why did it take me this long to figure this out? And WHY HAVE I NEVER ASKED? FFS. This is why I remain a Danseur Ignoble: if I had thought to ask all the questions I should have asked by now, instead of just quietly puzzling away in my pretty little head, I’d clearly be a proper danseur noble by now (SHUT UP. OF COURSE THAT’S HOW IT WORKS. LALALALALALALA I CAN’T HEEEEEEEEEEEEAAAR YOUUUUUUUUU.).

>.<

…On the upside, I will now be capable of actually teaching balancé under (and over) to my Sunday class, instead of just going, “Um, you sorta go like this?” and hoping they’ve all had their coffee and Adderall.

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