Blog Archives

Ballet Squid Chronicles: In Which The Gauntlet Is Thrown Down; Dansuer Ignoble

This morning a friend of mine on Google Plus challenged me to make a ballet video à la Sergei Polunin. Being as I am a sucker for a good challenge and also in need of some intermediate-term motivation, I (of course) immediately accepted said challenge. I still need to put together an audition video anyway.

I’m assuming that everyone on the internet who is even remotely interested in ballet and/or in hot Russian guys has already seen the video in question, but just in case, here it is. You know, for informational purposes and stuff. Consider me, like, a handy reference librarian.

Obviously, I am not Mr. Polunin, and I doubt I’ll master the art of launching myself from a supine position on the floor into a gigantic flying cabriole OMFG any time soon o.O So my video isn’t going to be anywhere near as impressive. Just saying.

But it does give me an excuse to get organized and finishing whipping my butt into shape and use my time more effectively. I am really bad at handling time without external structure, and only doing class a couple times a week has thrown a huge monkey wrench in the gears of my ballet plans.

Like, I do this thing where I’m all, “Okay, I have five days this week that I’m not in ballet class, I should definitely work in some calisthenics on at least three of those days.”

So I get up on Tuesday morning and I’m like, “Hooray, I have all this time to do my embarrassing calisthenics before Denis comes home; I think I will clean up a bit and work on some homework.”

And then, being me, I get paranoid, so I start on the homework first.

And then suddenly it’s Saturday morning and I’m back in ballet class and I haven’t done a single freaking push-up all week (though I have at least gotten rather good about actually working in some crunches; I do them in the kitchen while I’m waiting for dishes to dry or whatever).

Somehow, the thought of creating a video that OMG PEOPLE MIGHT ACTUALLY SEE makes the need to, like, actually not slack off on the physical training end of things seem rather more pressing. In short, being stronger (in a targeted kind of way; just building muscle for the sake of building muscle can become counterproductive pretty quickly for dancers) makes dancing easier.

Right now, my other pressing motivators are Burning Man (which isn’t ’til August), the deadline for submitting an audition video to Columbia (December, 2015), and then a performance with the adult ballet program peeps and Sun King in 2016. Given my total inability to conceptualize time, even Burning Man might as well be some time next century. Like, I try to get my head around it: you know, it’s at the end of August, and here’s how many months that is, how many weeks, and here’s this other stuff I need to do between now and then — but actually that’s pretty meaningless to my brain. I can imagine space really easily; time? Not so much.

In other news, I am also an idiot.

It appears that I do, in fact, know how to do grand jeté en tournant, which is simply the full name for what we all call “tour jeté” (I feel like I should have already grokked this, but somehow I never made the connection until I heard someone mention “tour jetjeté” as an example of ballet shorthand).

I have, in fact, known how to do that since I was, like, seven or eight years old (it is my most favoritest leapy thing, because it looks impressive but it’s actually really easy). The thing I don’t know how to do is something else. I’m not sure what it’s called, so I’ll have to consult with Ballet Technique for the Male Dancer and also the whole freaking internet until I figure it out.

Might actually be some kind variation on grand jeté en tournant; there are a lot of things like that in ballet. Everything is basically a variation on something else, in the long run, since ballet essentially builds on a handful of basic elements: a single tour en l’air, for example, is basically just changement with a spin (QV: https://www.youtube.com/watch?v=BMjIzufr20Y); changement is just soubresaut with a change of feet; soubresaut is just sous-sous with a little more oomph; sous-sous is just fifth-position releve with everything pulled in tight.

And sous-sous is actually spelled sous-sus, and some day I will remember that.

In other other news, I feel that I’ve sort of graduated into the realm of vertebrates now, and it’s not entirely accurate to call myself a “ballet squid” anymore. I’m really not, which is surprising and startling and stuff. So I guess I will hereafter refer to myself as a “Danseur Ignoble,” which about sums up my plebeian condition in the world of ballet.

Kind of has a ring to it.

Ballet Squid Chronicles: Back to Monday Class Notes

Essentials tonight.   Lovely, easy class: port de bras and épaulement hung together all through barre, full splits again, grand battement mostly sans barre, back to doing single-leg relevés on both sides.   I was able to do our sous-sous-échappe exercise (also sans barre, because there’s really no excuse for using the barre for that at this point).

No jumps tonight, which is for the best.   The calf is definitely just a touch sore, so jumps probably would’ve been a bridge too far.  Little jumps and Sissones next week, I think (and whatever on the left leg).   Temps levee, on the other hand, is at least two weeks out (on the right leg).

Across the floor we just did glissade-pas de bourree.  Super easy, so I made an effort to make it look pretty (and succeeded, if I do say so myself).

Today was one of those interesting days on which I felt okay about my body  throughout class. I’m still wrestling with being okay with my body.   That’s going to be a long process for me.

Still, it does help when your turnout works, and your extensions are high, and your arms work, and you don’t dance like a squid on too much Ritalin.  Then you can at least say to yourself, “Okay, so I can be grateful that my body is capable.”

For a long time I really struggled with that idea, because I thought that recognizing that was supposed to magically make the bad feelings go away, and when it didn’t it hurry and I resented it.   (I also resented the heck out of the idea that people wanted to tell me how I should feel: and while I’m sure some of them actually did, a lot of people who have said, “… But it’s great that your body Works!” probably really didn’t intend that.)

It turns out that I’m not stuck forcing myself to only feel one or the other.

Instead, the dysphoric hurtiness and the gratitude can kind of coexist, like siblings in the back of the car, elbowing each-other now and then but also not killing each-other, which really kind of feels like a big deal, to be honest.

So the difficulty, the dysphoria that may or may not every go away, that’s still there, but I’ve reached a point at which I somehow simultaneously manage to be grateful for some stuff about my body (and not just my feet).

It doesn’t make the dysphoria not hurt, but it makes it less cognitively dissonant to sit with the dysphoria in the face of an emerging appreciation for what is rather an immense array of capability.  I don’t know if I’m making any sense, here, because it’s such a weird, new idea for me (I’m sure that folks who are better-versed in dialectical behavior therapy are all like “Well, duuuh!” ;))

Okay.   That’s enough trying-to-asplain for now.

Anyway, I plan to go home and RICE my leg and rest it well tomorrow.   This coming week I have a bazillion things to do, including a doctor’s appointment to discuss meds.  I will try to also get caught up on comment replies (which I’ve been handling kind of willy-nilly) and reading all the awesome blogs that you guys have shared with me and, I guess, also shared me with 😀

No Wednesday class this week.

G’night, everybody.

Ballet Squid Chronicles: Taking It Easy

Ballet is basically the ultimate sport/art for masochists (short, I guess, of the Sun Dance).  Dancers push themselves hard; we push ourselves ’til it hurts, and then, generally speaking, we push a little more, because we figure that’s A) how you grow and B) how you prove yourself.

As such, we dancers can be a bit silly about recovering from injuries.  First, there’s the “No Fun” factor (What do you mean, no jumps?!  But I love jumping!); second, there’s the eternal fear of (GASP!) falling behind.  :::shudder:::

Needless to say, after re-injuring my now nearly three-week-old calf injury last Saturday, I’m taking one for the team.  Sucking it up and cooling it down.

Today, I did class, but I skipped the jumps, the one-foot releves and balances (on the right), and even the little springing sous-sous/echappe exercise that I normally enjoy so much (because it lets me show off, basically).

I’m also working slowly and carefully through just about everything, paying constant attention to whether or not that calf hurts.  It’s not my natural approach to dealing with injury (which is, more or less, to pretend the injury hasn’t happened and continue apace), but, well … I think there might be something to it.

Taking it easy in class is giving my calf time to heal — but it’s also allowing me to focus on really sharpening up my basic technique, and I think that’s an invaluable opportunity.  I’m working on really feeling turnout in all the right muscles (without clenching; I am like the King of Clenching, people, you don’t even know!), really feeling where my weight needs to be, and so forth.  Pretty cool stuff.

The weird part of working through this particular injury is that it has made me very conscious of just how hard the muscles and tendons in my calves are working even when balancing at releve on both feet.  My sous-sous is just not as stable right now as it usually is: my right leg isn’t all the way there.

Also, it was really weird doing barre stretch with no releve on the right foot.  You develop routines; habits (dancers are rather infamous for being creatures of habit anyway).  I had to think about how to get from a la seconde to en face.  The answer?  One very un-balletic shimmy.  Like, work that booty, baby.  But it got me there, so it flies.

I spent the time that everyone else was doing little jumps working my plies.

I do not use my plie sufficiently in jumps anyway: I have way overdeveloped the muscles that let you spring off of your toes, so I under-utilize the rest of my leg when jumping, and that’s how I injured myself in the first place (Ballet peeps!  When your teacher yells HEELS ON THE FLOOR!!! as you saute across the room, that’s why!).

As my calf comes back online, I plan to spend a few weeks really concentrating on getting my heels on the ground and using the bejeezus out of my plie, even if that means smaller jumps for now.  Eventually, it should let me manage even higher, more powerful jumps — which is pretty neat, since I’m already pretty good at high, powerful jumps: but first, I need to retrain my muscle memory and neural wiring so using the plie fully is part of the jumping process.

Going across the floor I worked on ballet walk and then little chasses on the right leg; on the left, I was able to do the saute arabesque-chassee combination.  Switching back and forth every couple of strides made for one heck of an effective coordination exercise; I was able to get my legs to do it, but my arms got hella confused.  I also got off one little cabriole — but just one.

I feel like this means I should probably play with doing different combinations on each leg on a regular basis, to familiarize myself with the process of rapidly flipping back and forth between two different choreographic elements.  Though, now that I think of it in those terms, it feels like it should actually be easier to do than it was.

Anyway, that’s it for now.  Time to go collect a movie and some stuff to throw together for dinner!

 

I Don’t Think This Is Quite What Our Grandmothers Had In Mind

Let me begin by saying I’m a dude who grew up in something as close as possible to a parallel universe: a house full of strong women with a female breadwinner (an executive at a large utility company); divorced parents who got along brilliantly; a father who really saw women as equals, who valued friendships with women (including his ex-wife, my Mom) immensely.  In short, a reality where equality between the sexes was a reality.

I sort-of got that sexism was a thing, and at the same time, I didn’t really see it in action.   I kind of labored under the delusion that sexism was over, or that it only happened in far-away places — other countries, maybe. Or maybe Texas?

I’m sure now (because hindsight is 20/20) that my Mom and my Grammy and my sister experienced it: in fact, we all do. The extent of my exposure, as a kid, came in this sort of vague knowledge that my sister got picked on for being bigger than other kids in a way that boys her size didn’t — and even that, I only figured out in retrospect.

Well, and then there were the weird messages conveyed by TV shows. Oh, and road signage*.

*Seriously, when I was little, I was eternally mad about the fact that the standard “school crossing” sign was a big brother ferrying a little sister across the road — why not the other way ’round? Girls were just as good at ferrying little siblings as boys!

Anyway, we were busy, free-ranging, book-crazed kids, outdoors at least as often as we were indoors — but we did watch some TV.

I remember being annoyed by ads that divided up toys along strict gender lines (who says girls didn’t play with Hot Wheels, or boys with My Little Pony?) and I remember being really, really annoyed by the theme song to James Bond, Jr., which included the line “… As he rescues the girl!”

The part of me that was semi-aware of such things was like, “Hello, this is the 90s, probably ‘the girl’ can take care of herself!” I’m not sure if that was actually a kind of an in-joke and The Girl in question did more rescuing than Mr. Bond Jr., because the show didn’t have any talking animals on it, so I wasn’t interested.

Anyway.   So I was aware of gender issues, but in this very limited kind of way founded on the idea (common to lids in general) that the foundations of my world were just like everyone else’s, and that everyone was equipped with the same set of tools that let my sister and me roll our eyes and call bull when we spotted something obviously sexist.

So basically, grown-up life has been a long series of little shocks in which I’ve realized that, yes, sexism is still a huge thing (and not just in other far-off countries like Texas), and that it’s a big thing, and that it’s a subtler thing than I ever could have guessed. Oh, and that not everyone is equipped to see it or fight it.

For many women, I suspect this is definitely an eye roll moment: “Like, duh, hello?  Of course it’s a thing!”

I’m right there with you: I feel like there’s a lot I should have seen sooner; a lot I still don’t see, probably**.

**Weirdly, ballet is one heck of an effective mirror for male privilege, because dudes are kind of like unicorns in the ballet world, and even a marginally-talented unicorn gets a ton of attention and encouragement (everyone likes to have unicorns around!).  

It amazes me that insecure straight dudes aren’t flocking to ballet class in droves.  Nothing, and I mean nothing, has made me more aware of my own privilege as a male (let alone as an able, conventionally-attractive male) like ballet has.

Like most kids from privileged-yet-socially-liberal backgrounds, I’ve also been raised with the assumption that, as a society, we’re making progress — we’re moving forward; that the general trajectory of the course of history (occasional backpedaling notwithstanding), in relation to human rights, is forward.

In a sense, we are: take, for example, the huge cultural conversation about sexual assault on college campuses***.

***Though, for now, let’s leave out the other side of that coin: the side that asks, “But young people get raped just as much or more in places that aren’t bastions of privilege; where’s the uproar about that?” That’s an incredibly important problem, but it’s also a different post.

Not that long ago — a heartbeat ago, on the scale of history — that conversation couldn’t have happened. The straight male voices that dominated cultural discourse would’ve said, “Ha! This is nothign but a bit of hysteria. You little ladies should get back to your Early Childhood Education studies and leave the big problems to us men.”

Now we can talk about it, an we are talking about it.

And that conversation has been revelatory: particularly, it has revealed how utterly blind a lot of dudes are to their role in the problem. And while a lot of them have predictably been public asshats about it, some have woken up and said, “Holy crap, I am part of this problem.”

Most importantly, though, women have stood up to speak, and are still standing even after some pretty intense efforts at shouting them down, and that’s a fine thing****.

****Never mind that some campuses have responded with bass-ackwards “Don’t go out at night if you don’t want to get assaulted” policies.

Like, seriously, people? THIS IS 2015. We should all know by now that that isn’t how it works.

So we’re making progress there, by fits and starts.

Yet, at the same time, in other ways, it feels like we’re going backwards.

A case study:

A while back, after the bazillionth ad for hair dye or straightener or something during some TV show I want watching, I said something to Denis about how it seemed like everyone always wanted whatever kind of hair they didn’thave, and that I felt lucky that I was happy with mine.

And then I realized, wait — this is sexism in action. It’s capitalism feeding on sexism; on the kind of sexism that makes women feel like they’re never good enough the way they are, no matter what.

This whole snowball is about insecurity: all these ads were aimed at women, and they all began with the assumption that if you were blonde, you should want to be brunette so guys would think you were smart and mysterious or something and want you, and if you were brunette, you should be blonde so guys would think you were vivacious and fun or something and want you, and if you were somewhere in the middle, you should maybe go full ginger, because everyone knows gingers are unpredictable force-of-nature sexy vixens and guys love that.

And I realized that I am more or less satisfied with my hair because I’m a guy,and I don’t have an entire culture and all my friends telling me I should try some other color or maybe get a perm*****.

******Not to say there’s anything wrong with dying your hair: IMO, your body is no less valid a canvas for self-expression than a canvas that you can hang on the wall is. But that’s not why something like 90% of the women at school have the same highlights; the same dye job. That’s culture telling people how to look, which is the antithesis of self-expression. Where I live, in the Northern Southern Eastern Midwest, the idea is to be blonde.

We’ve reached a point now where guys are starting to do this stuff, too: eating disorders in men are on the rise (when I was 13, I was an anomaly as an anorexic dude; not even a blip on the cultural radar; now, the problem is noticeable enough that there have been a few documentaries about it), etc.

In one sense, maybe that’s a good thing: it says that men are at last beginning to be subject to the same market pressures as women, if on a much smaller scale.

Let’s face it, dudes: ladies who are shaped in any way differently than the whatever the culture has deemed correct take way, way more flack than men who are equally divergent. Likewise, while we guys may catch a little more flack when it comes to making career choices that are aimed at giving us more family time (as opposed to more money), women are more than compensated there with an exceptionally heavy load of cultural crap-flinging no matter what they choose.

Here’s the thing: while we’ve upped the market pressures on ourselves, we’ve also upped the pressures on the women. I suspect that “good enough” has never been good enough for women in our culture — but now it kind of looks like maybe even perfect isn’t good enough.

If you’re a fast-track career woman but not Supermom-cum-Wonderwife, it’s not like our culture says, “Ohai, you’re doing great, actually!”

Instead, it’s all, “Yeah, well, Angelina Jolie has a zillion well-adjusted kids and a high-powered career and still finds time to bake all-organic quinoa crisps.”  (Helpfully leaving out that Jolie can afford to pay someone else to do the marketing or watch the kids and can afford to take the rest of her life off if she so chooses.)

Meanwhile, dudes still practically win the Nobel Peace Prize whenever they manage to heat up a frozen pot pie without also burning down the house, because LOLz, cooking for the fam is totally still for chicks******.

******Yeah, I know plenty of amazing, involved family men who would see how this insults both them and the women in their lives — but it’s still a cultural reality, QV every household products ad ever, and this presents problems for everyone. Again, there’s an important thing going on there, but it deserves its own treatment.

So, in short, we’re still a long way from equal, around here. And I’m pretty sure that’s not what our grandmothers and great-grandmothers were after.

What I’ve learned by being a dude, but also a gay dude, is that having privilege is (rather aptly) just like being a fish in water: you have no idea that you’re surrounded by it, buoyed up, floating in it, until you encounter some air-breather that’s caught a toe in some seaweed and is struggling and going, “Holy crap, how can you not see why I’m drowning, here?  This stuff is everywhere!”

And, then, what you do with that information is up to you. You can either help an air-breather out or you can go, “I don’t see what the problem is; I’m breathing just fine.”

Only, like, that analogy can only go so far, because we also make the water, and (after a period of adjustment) we’d be okay without it. Those of us who already hold a fair bit of privilege have a lot to say about which way the culture turns — that is, whether it’s a place that’s harmful to air-breathers, or a place where both air-breathers and those of us who can choose to breathe water or air can both live.

So now I keep an eye out for my own privilege, because it’s up to me to not be that guy.

Yeah, this gets weird and difficult sometimes: like, when I realize that as a boy from the frenetic Northeast, my entire conversational style makes it really hard for a girl from the South or Midwest to get a word in edgewise. But part of being a grown-up and wearing my big-boy trousers is learning how to handle a little discomfort.

I can back myself down, listen more patiently, and so forth. That doesn’t mean, by the way, that girls from the South can’t also adapt to different conversational styles: they can and do, but it’s still my job to meet them in the middle and to figure out what I’m doing wrong.

That’s part of what being equal is about: I don’t get to feel like my way is the only right way. I don’t always have to agree with the way other people do things, but I do have to give them full consideration.

So basically I feel like we’ve got a long way to go — and I think that every inch of progress we make along that way actually makes the world a better place for women and for men.

As for that golden future the Feminists of earlier generations envisioned: I used to think we were already there.

Now I know we’re not.

I also know that while women probably can move ask the mountains to get us there entirely on their own, they flat-out shouldn’t have to.

It’ll be a lot easier for everyone and better if we guys wake up, smell the privilege, roll up our sleeves, and help out (after all, we built those stupid mountains that are in the way).

So, um, I hope this is all okay. When I stated writing this, I thought I knew what I was saying, but it got away from me (like, you know, every blog entry in the history of ever).

Anyway, here I am, and here’s my shovel, and I hope I can help move these mountains, because I’m realling looking forward to dancing together on the other side.

Ballet Squid Chronicles: More Cabrioles Followed By Argh

Margie’s class was great today, mostly.

Pretty barre.  One long, effortless passé relève balance.  Graceful work at center.  Nice cabrioles.  I got to demonstrate grand jete.

And then, boom.

This bizarre popping sensation in my calf, and once again I was done.   Just like two Mondays ago, my calf would not work.  I could stand, I could walk, I could jump on my left leg, but putting weight on the ball of my right foot was essentially un-doable.  

The protective mechanisms that keep you from destroying yourself had kicked in.   Interesting!

Fortunately, Denis was in class, so once we were really done, I asked him to take a quick look at my calf.

The verdict: no tears or anything, but in the process of compensating for my previous injury, I’d injured something else.

I’ll be doing only barre and maybe adagio  for a week or so.   No jumping; no one-leg relève balances on the right.  No promenades on the right foot.  No cabrioles 😦

Denis is lovely and has bought me some compression socks and a support sleeve thing for the right ankle.  They feel really good.

Anyway, I’ll be back at it soon enough.

In other news, Claire’s secret mission was an audition with another company, and she got the job!

Which is both super exciting and kind of sad.

Ballet Squid Chronicles: Cabriole

I took Margie’s class today, due to the calf thing (which is now almost entirely better).

Good corrections:
1. I’m still throwing my shoulders back in my turns (this was a self-correction that Margie seconded :D)

2.  I flex my shoulders back too much when my arms are in second.

Edit: OMG, you guys, I just totally figured this out!

When I bring my sternum up and forward, I’m throwing my shoulders back, as if they can’t move independently of one-another.

In fact, they can: there is no bony connection whatsoever between the shoulders and the ribcage (creepy, amirite?) — just the cartilaginous one where the sternum and clavicles (collarbones) connect.

So it is, in fact, possible to move the sternum up and forward without moving the shoulders back — basically, if you think about keeping the shoulders down and moving the sternum up and forwards (as if someone has a hook through the front of your shirt!), it’s easier to do this without throwing the shoulders further back and thus hosing up all your turns.

Et voila!

Like,  I go to allongé, basically, as my default second.  This is what felt so different in Brian’s class (he made us do almost the entire barre with arms at second, and he made m  do my second right).

This is another artefact of that benign hypermobile joint thingy.   So having retrained my proprioception in my wrists and elbows, I now need to retrain it in my arms so second feels like second, instead of second allongé feeling like second.  Normal second feels like I’m curled in on myself, but it looks really good and keeps my balance forward.

I came up with an analogy that works for me regarding développée avant from fondu — it’s like you’re using the inside of your heel to hand someone an egg.

If you turn in at all, you drop the egg, so you have to keep rotating the leg as it rises.  For me, this forces a smooth, graceful extension.

I also did cabrioles while we did sauté arabesque, chassée across the floor, because why not?  Margie mentioned it, so I whipped them out.

I didn’t do them on the right (supporting) leg, though — the calf is mostly healed, but I didn’t want to push it.  As I got tired, my sautés on that side turned into sissones.  I got called out on that, too 😉

Margie reminded me that I should be beating the bottom leg and letting the top one sort of rise off of it; did my next set with that in mind, and it worked like magic.

It’s one of those technique things I know but don’t think of.  I tend to do some kind of crazy diagonal soubresaut thing instead.

So there you have it.  Friday class with cabrioles.  I’m looking forward to tomorrow ^-^

Ballet Squid Chronicles: Monday Class with Brian!

Claire is away on a secret mission (to know, to will, to dare, to not blab your favourite teachers’ ambitions all over the place!) elsewhere this week, so Brian (AKA Professional Dance Guy) taught class tonight, and it was a blast.

He gives a very good class — athletic but not exhausting, challenging but well within reach.  

I mostly didn’t hose up his barre; I promenaded without any dramanade; I did some pretty-ish turns (and some turrible ones); I didn’t forget any combinations going across the floor (though I did count wrong a couple of times; how hard is it to count to 16?  Seriously!).

Many of today’s improvements were the direct result of the sole me-specific correction of the day.   Brian was walking around correcting people who were getting slouchy at the barre, and suddenly he walked up to me, grabbed me by the waist,  and pronounced “Not you, too!”

It was definitely more a command than a comment: but up til that moment I thought I was pulled up.  (To be fair, I started out pretty well, but then apparently I got sloppy without noticing it.)

Oddly enough, it turns out that feeling pulled up isn’t the same thing as being pulled up.   And, strangely enough, being really pulled up makes you dance more gracefully… and makes your turns better, and makes your dramanades turn back into promenades.

This was especially important because we did our promenades en dehors, which is harder than doing them en dedans (though we were doing them at passé, which is easier than doing the Swan-Lake-arabesque-extended-cut promenades no matter which way you turn).

Apparently I feed off physical corrections: every few minutes I would feel Brian’s hands on my waist again, like a mental-physical reminder: Are you pulled up?   Oh, yeah?   Really?

My calf got a bit sore by the end of class, so my final petite allegro combination looked a little lame (literally), but other than that I felt pretty good about myself today.  I’m starting to make progress again.

I’m also doing all my physical therapy exercises like a good boy and trying to eat enough food even though my appetite has kind of died again.  I am not worrying about it now, though: it seems to do this from time to time, and I am still not at a point where it would be dangerous to shed some weight.  

If I get there, then I’ll worry.  Otherwise, I’ll just try to remember to eat enough even when I’m not feeling hungry.   This is part of why I still track my diet religiously.

Okay, so that’s it for tonight.  It’s nice to finish class feeling excited about making progress again!

Ballet Squid Chronicles: On Poor Choices and Owning Them

A while ago, I wrote about returning to class after my extended winter break (link to come).  Among other things,  I said that I felt like a pudgy dancer.

I realized at the time that “pudgy” was the wrong word for a number of reasons.

First,  it wasn’t the word I wanted, and didn’t actually convey the concept I hoped to express, but I wracked my brain and couldn’t come up with the word I knew I was looking for.   Like autocorrupt on crack, my brain kept suggesting “pudgy.”  Finally, I gave up and used it.   Twice.

Second, it’s a loaded word.   Like “chubby,” it’s one of those words that means “adorably chunky” when we’re describing puppies or baby elephants or cartoon orcas or toddlers or what have you, but something else entirely when applied to human adults (never mind that some of us,  myself included, like how “pudgy” looks on other people; I married a slim guy, but I’ve always preferred big guys — pudgy guys, in fact).  So it’s a word that implies a kind of judgment I try not to make, and also reveals the double standard by which I judge myself.  “Pudgy,” in short,  is a word that can hurt.

Third, the dance world is full of implicit (and, sometimes, explicit) judgments about body size.   I’ve written about this a couple of times (again, links to follow).   I try not to participate in this particular hegemony: I think dancers of all sizes can be beautiful.  That doesn’t mean I’m not affected by it,  though.  I am both human enough to admit that I  do experience reflexive moments of size-ist thinking, and to say that those moments are often concurrent with their opposites: one part of my mind will be thinking, “Wow, that one dude in the corps is pretty hefty,” while another part of thinks, “He looks really great up there.” 

The difference is that the first of these thoughts is a conditioned reflex; the second is a feeling.   So while my conditioned thoughts — the ones influenced by cultural dictates — are busy being jerks, my actual gut feelings are appreciating what I’m seeing.   It’s weird, uncomfortable, and cognitively dissonant.

And when I use words like “pudgy” in contexts where they mean something bad (in this case, the word I really wanted was “clumsy”), I reinforce the cultural dictate that says dancers need to be shaped a certain way — even if that’s not what I believe, feel, or mean to convey.

Even if I really genuinely believe (and I do) that dancers actually need to be shaped all kinds of ways, my intentions don’t matter in a static context that doesn’t convey them.  What matters is what I actually write.

Lastly, there’s a part of me that still genuinely believes that everyone else can be great and look great at whatever size but I need to be, in a word, skinny.  That voice is always there.   It was there when my BMI was 14.5.  It was there when my BMI was 30.  It is still there now, when my BMI is 24.

Every time I make a disparaging remark about my own weight, I reinforce that voice.  Yes, I need to talk about that voice, and to acknowledge what it says (ignoring it sure as heck doesn’t make it go away) — but I need to do so in a way that reduces, rather than increases, its power.

I need to do that for me, and I need to do that for everyone else who has that voice (which, to a greater or lesser degree, is everyone).

~~~

I thought long and hard about whether to write this at all.  I’m just going to go ahead and admit that, in short, I was debating whether or not to stick my head in the sand and hope nobody noticed my apparent act of woeful hypocrisy.

I was being a coward, but I guess I was also thinking about what I said (“pudgy”) and why (because my language co-processor was on the fritz, but also probably because I was having a exceptionally poor body image day) and what to write about it (this, it turns out).

I’m glad I did: that is to say, glad I tool some time to think about it, and also glad I took some time to write about it.

If my choice of words hurt you, please know that I’m sorry.   Nobody deserves to be hurt (except maybe masochists who have been really good and done all their chores ;)).  And I guess I should apologize to myself as well, because I am a dick to myself way too often.

For what it’s worth, I really do mean what I say: there’s room in dance for all kinds of bodies, all colors and sizes and shapes and abilities.   All of those different bodies are valid and valuable — and just as painters have expanded their palettes as new media have emerged, it behooves those of us with choreographic ambitions to expand our palettes to include all kinds of bodies (“Oh, brave new world that has such creatures in it!”).

I’m hoping that,  having written this, I’ll think of more to say on the topic.   For now, this is it. 

Go forth and be pudgy and proud, or svelte and sublime, or medium and miraculous: no matter your shape, dancers of the world, the things your bodies can do are amazing.

Ballet Squid Chronicles: Onward and Upward

Tonight, Claire sorted my fourth position (which was too wide), silenced my too-noisy pique, and gave us all a number of general corrections about keeping our weight moving forward and upward.

This latter point makes adagio both easier and prettier.  Emphasis on easier.   Much less “construction crane,” much more “graceful swan.”  Or, you know, fairly graceful turkey.

We did some nice choreography, lovely little jumps, and then I pulled the &#@! out of my right gastrocnemius soleus (thanks, Denis!) doing a petit allegro combination across the floor — pulled it so hard I couldn’t jump on that leg for the remaining five minutes of class (I was able to do pique turns using the right as the supporting leg, but not the left).

Brienne was in class tonight and showed me how to roll it out on a lacrosse ball.  I think that, some naproxen, and a little RICE should sort it.

So there you have it.   Your Humble Ballet Squid has finally succeeded in injuring himself during class, but not so badly he won’t be back in action this weekend.

In other news, Paul Taylor on Friday!   Wooooohoooooo!

In Class

In class on Saturday, as Claire was giving us a combo, four of us were standing in a zig-zag, waiting in various half-baked b-plusses.

Then Claire gave us all the hairy eyeball and said, “Even in class, even when you’re just waiting, you can never sickle or cross your feet. You have to stay on your supporting leg and keep those working toes weightless.”

And we all looked at ourselves and realized we were being lazy and straightened up and flew right.

Until that moment, I had never noticed how slack my rest position was. Lazy, slouching, sickled.

Consider that fixed. I’d like to upgrade my b-plus to an A-plus.