I didn’t do Modern T’s class this morning because I had a scheduling conflict, so I went to M. BeastMode’s evening class today.
We were all just coming back from Spring Break, so M. BeastMode went easy-ish on us (which meant class was pretty relaxed, for me; M. BeastMode’s class at its hardest is still only about half as physically grueling as Ms. B’s Killer Class).
Barre was great. Everything went beautifully at barre. I worked on the let it happen principle, and suddenly my fondues, developpés, and grand battements were beautiful, high (or, as required, low and elastic), and really effortless.
Ditto turns, as a general rule. Fine and effortless, mostly. Turns from fifth are back; turns from fourth are trending towards reliable doubles again.
We did a quarter turn-half turn-full turn combo that was perfectly intuitive as long as you didn’t think, but went straight to Helena Handbasket (good ol’ Ms. Handbasket, heh) if you second-guessed yourself or started thinking. Mostly, though, I acquitted myself beautifully doing turns.
Ditto across the floor, at first. We did a cool combination that I am now nearly unable to remember, but it was set to a tango, and the goal was to focus on economy of movement. Since this is a thing I’m working on anyway, that was great.
Then we did another thing across-the-floor, and it just … I don’t know. There was a renversé. I love renversé, and I can do it quite well, and did beautiful renversés while marking the combination … and then, for some reason, when actually dancing it, my body kept insisting that the step in question should be fouetté, even though there was no fouetté in the combination.
I didn’t work that part out until after class, though. I just knew that something cray kept happening to my beautiful renversé moment.
This is what happens when I don’t go first and don’t mark all the way through the combo while the first group (or, in this case, groups) are going because I’m afraid of kicking somebody or getting in the way.
So, um, yeah. I shall work on that. It is getting a heck of a lot easier to pick up combinations, though (honestly, picking up almost any ballet combo seems like a breeze after a complex modern combo — not because modern is harder, but because ballet is my “first language”).
After, I ordered most of the remaining parts for our trapeze costumes (which should double for ballet stuff, later; it looks like things might be shaping up in terms of getting an adult students’ performing group together, but more on that later, as I don’t want to screw it up by speaking too soon).
Likewise, it would seem that I now have a choral performance iron in the fire for next year, which is great — not something that will require a year-long commitment, but something I’ll enjoy immensely.
So that was Monday. I’m super tired, so I’m off to bed.