Last week, or maybe the week before, I was watching Killer B do turns in class and had this revelation about her back.
I don’t quite know how to explain it: her back, like, goes straight up and down, like the proverbial elevator car that probably everyone’s ballet teacher has harped on about at some point when teaching relevés. Nothing changes. Everything just spins together, lovely and open, on an invisible axis (seriously, she spins like Baryshnikov).
I thought about how that would feel, physically—the back open and traveling straight up and down—and decided to try to work on achieving that feeling.
But what really made me get it, to be honest, was last night’s modern class.
We did and improv at the beginning that was all about different qualities of movement. We began frozen in concrete, wiggled first one part, then another free, then the concrete slowly transformed into thick, heavy, sucking mud. Eventually the mud gave way to buoyant ocean water, where we could swim and float. Then, slowly, we reversed the process.
Later, LWF gave us a visual that related (in a way) back to that: she asked us to imagine holding two heavy buckets of wet sand, and to feel them pulling our arms and shoulders down and open even as we allowed the back-tops of our heads to grow taller.
This made perfect sense to me, because it’s exactly the way I accomplish that kind of thing in real life. There’s something in my nature that refuses to look downtrodden—so when I’m asked to carry heavy buckets (or suitcases, or what have you), I engage through the lats and traps and so forth but let my chest and shoulders stay open, and I reach for the sky with the place where my occipital and parietal bones come together while keeping my head level.
Anyway, I did that last night (though for some reason, in my mind’s eye, the buckets morphed into suitcases?), and suddenly everything started to make sense.
This morning, Killer B said halfway through our Fondagio®, “Wow, your back is completely different today! What are you thinking about there? Keep doing it!”
I was able to tell her that it was, in fact, her back I was thinking about (and managed to do so without losing track of the combination too badly).
She then said, “You have so much more freedom in your eyes, too!”
And I said, “Oh, that’s Bruce!”
…Which got a chuckle from everyone who’s ever taken class from L’Ancien.
So, anyway: for me, the best answer for my back has been a combination of Killer B’s amazingly beautiful turns, the suitcases-full-of-sand image, and also Señor BeastMode’s instructions to pull up my suspenders (which counters my tendency to stick mah booty out) and to be strong.
I think the suitcases-full-of-sand thing might have a pretty universal utility. We’ve all carried heavy stuff at one point or another.
The weird part was how strangely observable the difference was.
Usually, you change something critical to your technique, and it’s so infinitesimal that your teacher will only catch if it she’s using that special eye on the back of her head* under the light of a super blue blood moon and walking widdershins around the Grave of Giselle or something. Usually, it’s clear that you’re dancing better, but not quite as clear exactly a how.
So, anyway, there you go. If, like me, you’re a Leaner, a kind of Overaged Teenage Sloper, you might give the suitcases-full-of-sand image a try.
In other news, K and I worked through a partnering thing after class, and since BG was there he gave us some pointers. By the time we got done, it was looking really great.
I also pulled off this beautiful, controlled, super-high developpé à la seconde en relevé completely at random while thinking out loud with my body about a note that BG gave. He looked at me and said, “Just like that!”
I don’t actually do that developpé there, but I think I use it later in the piece, so I’ll have to keep it in my back pocket … Or stuffed into the waistband of my dance belt (wouldn’t be the first thing I’ve kept there :P).
For whatever reason, I feel like I’m growing by leaps and bounds (gahhhhhh, sorry) as a dancer right now. It’s a good feeling, after working so long just to come back from the surgery and regain what I lost while I was on the bench.
*Speaking of this … I’m teaching a workshop at PlayThink this year. Do you just wake up one day with that extra eyeball? Because I might need it.