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Do You Get Used To It?

I’ve been working now for more than a year (granted, that’s really not very long).

I probably imagined that I’d be used to it by now: that, perhaps, the first time that work felt like, you know, work, I’d sort of wake up and go, “Oh, yeah, I’m a professional dancer, this is my job now, no big deal” on a kind of visceral level.

Turns out, that’s not the case. It’s no longer terribly surprising on a rational level, and the Impostor Syndrome has slackened its grip a bit, but every time something happens that makes me realize that I’m doing this amazing thing I feel this little kind of giddy rush.

It’s like when you pick up some random thing at a thrift store, and you google it because it’s interesting, and you realize that it’s actually kind of a rare and unique treasure. It’s like, “I have this amazing thing, and nobody realizes it’s this amazing thing!”

Also a bit like, “Wow, I’ve been given this amazing gift … do They realize that They’ve given me this amazing gift?”

I could ask my friends who’ve been doing this much longer than I have, I suppose … but I also suppose that every answer would be different, because every journey is different.

I hope I never stop at least occasionally being surprised and delighted that, yo, the Universe seems to have decided on a whim that I should be a dancer, and people seem to agree with the Universe, including people who seem to want to pay people to be dancers.

Anyway, there you have it.

The Americana show went well, by the way. Better than I expected: the floor proved to be incredibly grippy … like, seriously, I think it’s surfaced in some Super High-Friction Space Age Polymer … but the costumes for the piece before ours had glitter tutus, and the tiny bits of glitter greatly reduced the friction, making turns and so forth far easier. My piqué turns in the manège at the end could’ve been better (for some reason, I didn’t crank my turnout … eh), but overall the effect of the piece was really exactly what I’d hoped for … and, of course, both Kathy and Christina are fantastic to work with and perfect partners.

oh h*ck

Somehow, I had become convinced that the LexBallet intensive was in June (even though it has always been in July) and that PlayThink was in July (even though it has always been in June—my sister’s birthday coincides with it every year), and EVEN, even though I made widgets for this very blorg that list the dates.

Needless to say, knowing that The Time Is Almost Upon Us has me, as they say, a little shook.

Mostly because, for the first time, I’m teaching a workshop, and I haven’t even given said workshop a test drive like I meant to (because Golden Retriever Time, y’all).

Anyway. I think it’ll be okay, but my Imposter Syndrome is off the charts with regard to teaching. I’m like, HOW CAN I TEACH, I DON’T ACTUALLY KNOW ANYTHING??!11


Except what a foot is. I can identify a foot.

I’m sure everything will go just fine and nobody will die. And if anybody does die it will probably because Kentucky is ridiculously hot and humid in June and not because I’m a horrible, incompetent danseur and should never be allowed to teach anything, ever. But I hope nobody dies even then because that would really probably put me off teaching for a while (because I’m horribly superstitious deep in the cockles of my heart).

Regardless, I have a Plan (and not just a Goal) for the workshop and a 2-hour window in which to accomplish that plan, so I’m pretty sure it’s going to be okay. I’ll just, as Señor Beastmode likes to say, Stick To The Plan. Unless the Plan proves completely useless, in which case I’ll throw it out the window.

In case you’re wondering, the exercises I’m planning to use will be sequenced as follows:

  1. The Little Dance
  2. Invisible Catch
  3. City Streets (Solo Version)
  4. City Streets (Eye Contact Version)
  5. City Streets (Touch Version)
  6. Flocking (North, South, East, West)
  7. Mirroring (into Touchless Partnering)
  8. Leaning In
  9. Leaning Out
  10. Weight-Share Shape-Building
  11. Lean Tag
  12. Basic Dynamic Weight-Sharing
  13. 5-Minute Dances
    1. 5 minutes to draft a dance
    2. Brief showing (music: random)
    3. 20 minutes to revise
    4. Final Showing (music: random or dancers’ choice)

A lot of this is stuff I’ve learned from Pilobolus—stuff that I feel very comfortable doing, but possibly not like I have the earned authority to teach it. …Which is hilarious, because I’ve taught all of this at various points, with the exception of 5-Minute Dances, which is something you more facilitate than teach.

Ironically, I feel least qualified to teach in the dance idiom I practice the most (ballet) and most qualified to teach in the one I practice the least (modern partnering improv).

I would say that I’m not sure what that says about my faith in my practice, only I am: what it says is that ballet is a highly-technical, rigorously codified idiom, and teaching it incorrectly can really screw someone up. When I talk about the technical aspects of ballet, people routinely tell me I should teach—but I think it’ll take a few more years of learning, performing, and choreography…ing before I feel qualified to teach ballet.

I also need to start rehearsing “…Lover Boy” in earnest, because I haven’t really given that enough time.

Lastly, I need to NOT TAKE ON ANY MORE PROJECTS RIGHT NOW. I’m booked to the gills all summer, which came as something of a surprise even though in retrospect it seems fairly obvious that that’s what happens when you take two contracts and then load freelance gigs on top of them 😛


How I’m going to feel by the end of summer.

Not to say I won’t take a ballet job if someone hands it to me, because, you know, ballet.

But still.

Thinking About Teaching, Dancing, and Being Good Enough

Back in January of 2015, I discovered that I love teaching neuroscience-y stuff (which probably shouldn’t have surprised me, since I am both a gigantic know-it-all and the kind of person who delights in watching other people make discoveries).

Unsurprisingly, this year, I’ve discovered that my fondness for teaching transfers really well to teaching dancers.

Full disclosure: where teaching dance is concerned, I literally have the worst case of impostor syndrome I’ve ever had. I’m totally like, “How are they allowing me to do this?! I could completely ruin this whole class with my generalized incompetence AT ANY SECOND!”

It’s significantly worse than the voice in my head that shouted, NO YOU CAN’T, DON’T AGREE, SHUT UP, SHUT UP, WHAT ARE YOU DOING?! every time I was offered some exposed or otherwise significant piece of choreography in rep class in Cinci. (Which, btw: I screwed up some stage business — returned to my starting place at one point when I should’ve gone to a different place — but I reminded myself that the audience has no idea it’s not supposed to look like this and it shook out just fine. So there you go.)

What I’m learning, though, is that I have good ideas, sometimes, and that Aerial A and I teach synergistically. My ideas and hers work really well together.

I’ve also learned that, while it can still be hard for me to articulate things verbally, I’m really solid with the physical corrections — those moments in which you actually grab someone’s leg and sort of show it what to do, or (as Claire once so usefully did to me) tap something and say, “Lift this.”

I will totally feel like I seriously have no business being up here, but I’m also learning that a lot of people feel that way a lot of the time. I’m learning to overcome that feeling: maybe not to make it go away, but to more or less thumb my nose at it. I remind myself that Aerial A is particular about her teaching staff and that our dancers are coming along so unbelievably well.

In short, it looks like I am, in fact, good enough — though maybe not in the way my brain means when it thinks, “But I’m nowhere near good enough!”

I’m not perfect. I’m new. I’m inexperienced. I’m learning.

But I’m serviceable. I get the job done. I’m, you know, good enough. Maybe not The. BEST. Teacher! — but still a teacher with some value.

Nobody ever knows everything (not even insufferable know-it-alls) and everybody has to start somewhere.

I’m trying to keep this thought before me as a dancer, as well: in a field where basically every working second is more or less a potential audition, there’s really nowhere to hide. People judge my ability based on what they see, not based on the things I say about myself or the things I think about myself. When people ask me to dance for them, then, the part of my brain that thinks, “She had no idea how awful I really am at this,” is wrong. People who have seen me dance can probably judge my strengths and weaknesses better than I can.

It’s up to them to decide whether, for their purposes, I’m good enough.

Ultimately, it doesn’t matter if that means “good enough” as in “This guy is clearly to compete in the highest echelons” (hint: I’m not!) or, “Eh, he’ll do all right.”

Good enough is good enough if it gets you in the door.

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