Today’s episode of Danseur Ignoble is brought to you by the famous palindrome, “A MAN, A PLAN, A CANAL: PANAMA.” Which, to be fair, only works properly if you don’t consider the punctuation when reversing it, in which case you’d get “.AMANAP :LANAC A ,NALP A ,NAM A” thus utterly defeating the entire point of palindromes in the first place. Also, full disclosure: at the moment, as far as I know, there isn’t a canal in my plan.
I wrote recently about how planning to eat is a good idea, and how the #dancerlife can make that challenging, etc.
Anyway, now that the season is looming into sight (OH LORD, MAKE HASTE TO HELP US, etc) and I’ve done the fun part of being a responsible adult danseur (New tights! New shoes! New … dance belts. Yeah, well, it can’t all be that exciting.), I’m on to doing the hard part.
Or, well, the part that’s hard for me.
Which is planning.
Anyway, in the spirit of continuing to explore the vagaries of #dancerlife in ways that might potentially be useful to other people, today we’ll take a brief look at my planning process (HA! I’m not sure it qualifies as a process, tbh.)
I find it really helpful to create a broad visual guide to my week: a kind of general picture of how things are likely to look, knowing that they’re going to be different sometimes. Because I’ll take 6,000,000 years to finish it if I try to do it by hand, I typically just create a table in Google Docs.
Here, for your edification, is a screenshot of said table as it currently stands:
My teaching schedule (thus far) includes Monday evenings (useful, since my teaching job is more or less halfway between home and Lexington) and Wednesday evenings, and my Wednesday class is late enough to allow me to take an extra class in Lexington on Wednesday evening.
I’m deeply grateful that I won’t be trying to jet out to Frankfort to teach at 5:15, or 5:30, after rehearsal. Yes, it bought me some time to play around in the studio, but it also made it really hard to figure out when I to eat dinner.
Though I’m not sure yet whether this strategy will work, my current plan for Wednesday is to eat a reasonably substantial meal between Rehearsal Block B and Evening Class, then a snack/mini-meal on the way home from teaching. That should prevent me from wanting to murder anyone in the interval.
I might(???) be teaching on Friday evening, though if I’m not I plan to take an extra class then as well. Might as well make the most of my time, and I have plenty to learn as a dancer, soooooooooo………..
I have literally no idea what Theater Week for our first production will look like, nor whether the Nutcracker run will in any way resemble its usual self, so I’m not even going to try to make a draft plan for Theater Week right now.
TBH, half the time, no matter how well I plan, Theater Week turns into “All You Can Eat Pizza Week” anyway (work is irrelevant, as one inevitably just has to tap a sub, or in my case, possibly several).
I think our company schedule is a little different this year (I seem to recall that our morning break is now 15 mins, which probably means we’ll take lunch at 1:30 instead of 1, or something) but not so much so that it’ll drive a train right through this schedule, which is only a rough draft anyway.
If you find yourself thinking, “Yes, fine–you’ve written all these words, and you’ve still told us NOTHING about your planning process,” you’re absolutely correct, and I apologize.
So here’s how the process itself works:
Really first, before I actually begin planning, I look at my various schedules from various places and try to make them make sense in my head and generally develop a headache.
Officially First, I realize I need to make a visual depiction of my typical week, so I begin by making a table on a blank document.
At first, my blank document includes:
- 7 columns: one for each day of the week.
- 4 rows: one for each more-or-less arbitrary division in my day (I don’t like to use an hour-by-hour schema at this stage; I get too hung up on how things don’t line up visually the way I want them to).
Then I realize that I need a header row for days of the week, so I add that, and probably a label column so I can label the different sections of the day, so I add that too and spend a few minutes dithering over what I want to call the different parts of my day.
Once those rows and columns are in place, I start copying data into the individual cells for my company day, then by data for classes other than company class, then data for my teaching job(s).
At some point in this process, I realize I want color blocks to help me visualize my week without reading, so I start adding those. And then once the color blocks start coming together, I realize that a visual breaks for lunch would probably help, so I add a row (columns merged, text aligned center-center) for that. And, hey! It does help!
I briefly decide that I need a separate row for my potential second teaching job, so I add one. Then I change my mind, since adding the row in question will make the whole schedule less meaningful visually, and I remove that row and decide that I’ll just add a note at the top of each work cell (and probably make them different colors if I teach at more than one place).
For now, since I’m not 100% sure I’ll have an extra teaching gig, I’ve filled in the space it would occupy with question marks (???). It could take place on Thursday instead of Friday, but Friday seems more likely, and so the overall shape of the week in this draft is settled.
Then I realize I’m going to need another visual break between the end of the company day and … everything else, even though I technically consider additional classes part of company life. So I add one of those, formatted just like the lunch break, and label it accordingly.
The line for breakfast was kind of an afterthought. I actually thought about leaving it out: I mean, I actually do tend to eat breakfast every day, because when I don’t, I’m typically unfit for human company until I do eat something. But I liked what it brought to the table visually, and in all honesty, it’s useful in helping me imagine how I need to use my time.
Which, for me, is the whole point of doing this.
What this little visual layout really does is help me stop myself overcommitting.
Without it, I tend to imagine all of the time that I’m not actively in the studio either dancing or teaching as “free” and thus available for teaching or whatever, or even just doing side projects. And then, unsurprisingly, I wind up burning myself out.
There will always be seasons (NUTCRACKER) in a dancer’s life in which a little burnout (NUTCRACKER) is more or less inevitable (N U T C R A C K E R!!!!).
That’s why we have breaks in our company calendars. We need that time to literally rest, so our minds and bodies can recover from the strain of long days rehearsing and performing (and living on pizza because we’re artists and thus broke).
Last year, I overcommitted myself, and wound up creating a situation in which I wasn’t eating well enough or resting enough during rehearsal weeks, so by the time performance runs ended, I was not simply cooked, but overcooked. I did finish the year a better and stronger dancer than I began it, but I could’ve made more progress if I’d just taken slightly better care of myself.
Likewise, just as it is with our hearts and minds, we can only take more out of our bodies than we put back for so long. If my goal is to have staying power as a dancer, I need to take care of my instrument. Part of that is feeding it well and giving it enough rest to make up for the crazy demands I place on it.
Nobody pursues a career in dance because it’s easy: if you think it’s going to be easy, you’ll either drop out before you get anywhere near a career, or you’ll realize how wrong you were and embrace the challenge.
That doesn’t mean, however, that we have to make it harder for ourselves.
And one of the best ways to prevent making it harder for ourselves, of course, is to plan. And while I try not to overuse this phrase, I am sufficiently bad at planning on the whole that I want to say, “If I can do this, you probably can, too.”
PS: my decision to arrange my schedule Sunday-Saturday is a purely pragmatic one. That way, since my company week runs Tuesday-Saturday, my least-scheduled days are grouped together, which I find visually useful. You should organize your week in whatever way works best for you.
I took my first company class on Tuesday and dove into my first ballet company rehearsal on Wednesday. Our AD (who I quite like) has been putting me to work learning basically everything and dancing in two of the pieces for our season-opener.
Our company now comprises four boys and more than four girls … I keep meaning to count them but I keep forgetting ^-^’ All of them have more experience than I do, but that’s okay. I’m working my booty off catching up, and the challenge is good for me.
Surprisingly, I find it comfortable to be the least experienced dancer in this context. I’m used to being at the top of the class and having to set an example. It’s nice to be able to relax, acknowledge my weaknesses, and just learn like crazy. I don’t have to try to be the best dancer in the room: I already know I’m not the best dancer in the room. I just have to try everything and work like crazy. Those are things I know how to do.
The “trying everything” bit has led to some surprises. I have done at least one double tour on purpose this week. I realized part of my problem is that I wasn’t really snapping my legs in tiiiiiiight. I think I wrote about this once before: to make a double tour work, you really have to turn yourself into a pencil, and do it FAST.
There have, of course, been plenty of non-surprises. When I get tired, I still get swaybacked, and I still let my ribs splay. I’m working on it. When I don’t get in my own way, I’ve got a lot of jump. I have nice feet. I have a habit of throwing my head back in my turns. When I’m unsure, I pull back into myself; I can get very internal. Sometimes I run myself over in grand allegro.
The cool part is that I feel like I now have the opportunity to work on all of those things. I’ve had great classes for the past few years, don’t get me wrong: I wouldn’t be doing this right now if I hadn’t. What I haven’t had is class at this level every single day, five days a week, or the opportunity to take what I’ve been working on in class and immediately apply it in rehearsal.
Unsurprisingly, I like the work. Although I don’t really know anyone very well yet, there’s a kind of peace in being a dancer among dancers. We’re all movers, artists, and obsessed people with intense work ethics. If it’s close to lunch and the AD says, “Let’s run it again!” you might hear a little grumbling, but then everyone runs the piece like it’s the first thing we’ve done today.
I like the structure. I like knowing that I fit somewhere in the company. I don’t in the least mind that, for the moment, my particular spot is “The New Boy.” Being the New Boy means I can only get better (or fail to make an effort and bomb completely, but that’s not my style).
It means the world to me that our AD has taken me on as kind of a protegé. I am grateful for the body that I have, which is well-made for ballet, and especially for my feet, which are apparently all that and a bag of chips (they’re the thing that basically every ballet teacher I’ve ever had has mentioned most specifically). At this point it’s up to me to make the most of what I’ve been given, and to live up to the faith Mr. D has placed in me.
And to learn the slave variation from Le Corsaire and nail down an overhead press lift o.O’