Blog Archives
One Fracking Awesome Penché Is Worth It
Mostly good class again today; the kind of class that would have been mind-blowingly good a year ago.
The highlight was the first time of JMG’s usual adage, during which I executed literally the best Penché I’ve ever done, ever.
It was just like, “Down, down ,down, ohai that’s like 5:55[1] penché there, recover like it ain’t no thang…”
- Technically, since the supporting leg is the hour hand and stays on the 6 regardless, it would be a 6:55 penché, but that doesn’t read as well.
First run left, though, I lost my rotators and had to put my leg down for a sec. None of the rest of the penchés were anywhere near as good as the first one.
Honestly, though, that one penché—the one that tells me I can penché like a boss if I keep my waterfowls in a linear array—was worth it. It was one of those moments that feel exactly right; the kind when you know even before everyone tells you that you’ve executed a difficult thing[2] beautifully.
- Penché is funny. You start learning it really, generally speaking. You then keep working on it foreeeevvvvvarrrrrr, because it’s actually rather hard to do really well.
T and … Crap, I just realized I have two Ts amongst my ballet peeps. Okay, so T1 and T2 clearly benefitted immensely from Curran’s masterclass. Now I really wish I’d taken it. Oh, well: I’ll pick their braingz about it later.
Little by little I’m feeling my progress. I notice new things in my body every single class right now: oh, I’m ever so slightly too far over my hip in piqué arabesque; oh, I’m throwing my head back in soutenu turns (no surprise there); oh, I’m putting waaaaay too much force into adagio turns; oh, I’m losing touch with my pelvis during tours lent.
This all makes me really look forward to Lexington. I have no idea what we’re learning in variations this year, but I feel so much more ready than I did last year.
Anyway, time to go mow the lawn and so forth.
Technique: Hypermobility, Proprioception, and Balances
Third in a series of posts on the details of technique that focuses primarily on steps and aspects of dance that I’m struggling with. Take it with a grain of salt.
I find it helpful to write things out in an effort to get a grip on them. These aren’t so much instructions (though if they work for you, awesome!) as observations.
I’ve written a bit before about the often-ridiculous relationship between hypermobility, proprioception, and one’s extremities. In this post, I’ll take a closer look at that relationship—and especially on how it pertains to balances (rather than to balancés).
Remember this shot by Mas? At this angle of articulation, my wrist doesn’t even really feel bent.
To sum things up, proprioception(1) is the vastly under-celebrated sixth sense that tells us, among other things, where in space our body parts are relative to one-another. It depends in part on stretch receptors that hang out in the muscles and joint capsules.
- Wikipedia actually has a pretty good article explaining what proprioception does, why it’s important, and how it works.
Hypermobility, meanwhile, is a catch-all term for conditions in which one’s connective tissues are more elastic than average. In dance, this is both a blessing (see: Woot! Extensions!) and a curse (see: OMG WHERE EVEN IS MY BODY RIGHT NOW?!).
This, of course, makes perfect sense if you think about it. Dance demands both a huge range of motion and highly-developed proprioceptive faculties. Hypermobility enhances range of motion(2), but it reduces proprioception(3).
Moar behind the cut, because this is really long!
