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 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 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.
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).
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!