Category Archives: aerials

Today’s Preview

We worked in the sphere a bit more today, first at about knee height, then at a more respectable height of 1.25 meters or so.

My bit of the brief duo is essentially nailed down; my partner is adjusting hers since we’re using a span-set rigging that allows her to work atop the sphere.

Got a little video and some decent still shots from there. This is one of my favorites:

This Skin-the-Cat Walkout Dismount works much better a little higher up!

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In Which I Revisit An Important Concept

(…Or, “Hey, what do you know, maybe knowledge really is power!”)

I don’t know why I didn’t think of it before.

I’ve been looking stuff up on the internet since I was a kid. I should know how this works by now! Got a weird question? Pretty sure you don’t know anyone who can answer it? Ask Dr. Google!

Anywho, I’ve been fretting over the deep details of What Is Going On With My Chest, and what should make me worry, and what shouldn’t, etc. For some reason, however, it didn’t occur to me until this morning to just, like, look it up.

Even though research is, like, kind of my jam[1]?

  1. Or, like, my tertiary jam, close on the heels of dance and circusing. But, like, if this was a horse race, research would definitely still be in the money.

So, needless to say, this morning I decided to apply my research-fu to my involved questions about the whole healing process … and, actually, I found really good answers from legit sources (being able to identify legit sources is an important skill, you guys).

Basically, the problem has been not the what, but the why (and how):

  • Why can’t I put my hands in the air like I don’t care?
  • Why can’t I lift things?
  • Why, from a physiological perspective, are those things bad ideas right now?
  • How could they impact the healing process (and, more importantly, are they going to make my nipples, like, fall off or something????!!!)?
  • How can I prevent myself from screwing everything up?

Anyway, I now understand what’s going on physiologically, which will make it a lot easier to remember not to do things.

I find it very helpful to have that extra data point—it not only strengthens the synaptic connections associated with the information in question, but adds a degree of motivational magic.

Basically, a really strong motivator can, to a degree, sometimes curb my impulsive nature[2]. The challenge is finding a motivator that’s stronger than the motivators that lead me to do dumb stuff.

  1. Works best in combination with Adderall, admittedly.

The motivation to make sure that all this surgical stuff heals as well and as quickly as possible is very powerful, but not terribly specific.

The specific knowledge of what’s going on under my skin and what I’m avoiding by following my surgeon’s instructions is really very helpful: it adds a layer of information that makes it more likely that the motivator, “Don’t eff up your surgery” will win in one of those momentary battles between impulses.

On the upside, I’m now past the point of greatest danger of really crazy outcomes (like my nipples actually going necrotic and sloughing off, for example o_O) … which is good, because the first thing I did upon halfway waking this morning was stretch, and although I stopped myself immediately, it made me feel a wee bit panicky. I also got fed up with my compression dressing in the middle of the night, woke up, and took the freaking thing off.

Turns out that I don’t really need to worry about either of those things too much—just keep an eye on things as always, but they probably haven’t done any real damage to the healing process. I’m doing a pretty good job behaving myself, and the nipple-aureola complexes should pretty much have made themselves at home at this point, having been significantly disturbed during surgery but taking only about a week to establish themselves again. They’ll be back to normal resiliency within a couple more weeks.

Anyway, I’m feeling much better now.

So, basically, I have yet again discovered the age-old principle of alleviating concerns by increasing understanding.

Um. Go me? Yay?

In other news, maybe I should also Google, “How the heck do I get all this freaking medical adhesive off my skin?” (Edit: Yup, I Googled it. Evidently, acetone—the main ingredient in nail polish remover—will do the trick. Going to give that a try in a bit.)

~

PS: I am working on Saturday—a wee bit of low-intensity ambient dancing. It will be an interesting challenge to see what I can accomplish without raising either my heartbeat or my arms 😀

Back From The Back of Beyond

I’m back from the Desert now, and catching up on life. Today was my first full day home, and I hit it hard—did a bunch of administrative life stuff, then booked it out to a 3-hour rehearsal.

Speaking of which, now that my name’s on the official cast list (or, as Autocorrupt suggests, “the official cat list”) I feel like I can stop being silent about one thing, anyway!

Cirque Louis: Kaleidoscope

I’m seriously stoked about the fact that we’re performing in the Bomhard, which is one of my two favorite local theaters.

Sadly, I missed our headshot shoot (it got moved), so my headshot won’t be in the program, but it’ll be on the website. I’m performing on hammock in this show, in addition to other things, which is pretty exciting. It’s like silks for trapeze people 😀 There will, of course, also be dancing.
Rehearsal today went really well. I’m excited about working with this cat … I mean, cast … and I’m rather a fan of our AD.

That’s it for now. Insanely busy week this week, and next week will be huge if Irma doesn’t completely destroy Fort Lauderdale.

A Relative Dose Of Success Followed By, You Know, Life

Leading up to PlayThink this year, I was bulldozed by a swift and nasty bout of your bog-standard “depressolepsy”—that fierce, crushing, exhausting depression that rocks up out of nowhere and smashes everything in its path. Thanks, Rapid Cycling Type I Bipolar, or whatever the hell is going on with my brain.

That’s been the case the past three years running, so I think it has to do with timing: the time of year; the timing of the onset of Summer Intensives and my inability to figure out how much GoGoGo I can take before I need to take my brain out and put it on ice for a couple of days; the timing of the stressful bit of my non-dance job; the timing of always effectively losing my husband to The Great Wave of Planning that precedes his standing summer plans (PlayThink and the Big Burn) just when I most need someone to help me stay afloat[1].

  1. This bit isn’t really his fault, btw. It’s more that I have a hard time broaching the divide between myself and other people, including D, when I’m struggling, and it gets even harder when he seems preoccupied. It’s something we both need to work on, together, and we’re doing it, but it takes time.

None of this was improved by my lack of security about our performance piece for the Friday-night “FlowCase,” which we hadn’t rehearsed anywhere near enough.

D offered time and again to cancel, but I couldn’t shake the feeling that it would be better to get out there and do the show than to back out. This is, for all its friendly down-home atmosphere, a professional gig—and the first rule in the performing arts is and always will be: “The Show Must Go On.”

  1. Corollary[3]: if your name is printed on the official marketing materials, you’re part of the show.
  2. I consistently misspell this word, even though if I stop and think about it for a sec I actually do know how to spell it. Seriously, self: “Corolarry?” Really? Is that, like the cousin of Corojessica, or…? SMH.

Basically, getting out there and screwing up sometimes is part of the business—even Nureyev fell flat on his arse from time to time—but you don’t want to get a reputation for backing out of your commitments.

So I gritted my teeth and accepted that we might totally bomb; that the whole thing might go right off the rails. That life is, after all, pretty much an exercise in walking a tightrope in a maelstrom, for all our delusions of control. That the even inclusion of a twirling beach umbrella and faux 20s-era men’s swimwear might not pull my carefully-crafted little acro-clowning-ballet back from the edge of disaster[3].

  1. I had thought of also including fake moustaches, but forgot about them, so even they could not have saved us if things went south.

So we wrestled our way through a couple more hours of rehearsal rendered incredibly awkward by the lack of so much as a single properly-flat spot in which to rehearse, which in turn made the apex of the whole number—the candlestick-to-diver transition that we basically invented for this show—literally impossible.

And then we went on.

And you know that thing that happens when you get on stage and the whole world falls away and suddenly you’re ON and even if you literally put a foot wrong, you can’t put a foot wrong?

So, that happened.

~

Our performance wasn’t perfect in the literal sense. Because we hadn’t been able to nail the diver transition, we left it out (though we didn’t actually program in something else, just in case it magically came off: I simply sort of rolled out to the side, pulling D up with me).

We had already scuttled the bluebird lift at the end because we need more practice with it before we put it in a show. Right now, its hit rate at home is only about 25%; the rest of the time, I wind up hitting it for about .5 seconds while D struggles to figure out the balance point, then we fall out of it and I yell at him and then apologize for yelling at him.

And, yet, in another way, our performance was a million times better than I could have imagined.

D lit up in a way I’ve never seen him light up on stage (evidently, all you have to do is give him a beach umbrella and let him twirl it[4]).

  1. I actually rather suspected this would be the case, which is why he got to twirl the beach umbrella (okay, so also it fit his character better than it fit mine). D has a lot of natural clown in him. I formulated this thing to play to that strength, and I think it paid off. Choregraphy Rule Number One: when you’re creating a piece on a group of dancers, create it on the dancers you have.

The piece filled up the music exactly (I was incredibly worried that we’d get ahead, finish early, and have to stand there grinning like eejits for 30 seconds or what have you).

Perhaps most importantly, the audience rippled with genuine laughter at all the right moments. It wasn’t that weird, “Uh … is this supposed to be funny?” laughter that we all secretly dread. All the jokes (physical jokes, not verbal ones) hit the mark.

When it was over, they cheered. Lustily. Thrillingly. Authentically. It was awesome.

So, score one for team Dawson/Taylor-Dawson. Not bad at all for a pretty complex bit of physical theater that had a sum total of maybe four or five hours of real rehearsal time and literally no full run-through with music.

Throughout the rest of the festival, we constantly heard how much people had loved the piece.

A few even commented on exactly the thing I’d hoped to bring to the table: the fact that the piece had characters and a storyline, which isn’t something I’ve seen in FlowCase in previous years. Our good friend reported that she was so proud she found herself tearing up. Someone even commented that my ballet (all three-ish steps that actually made it into the final piece!) was beautiful.

Needless to say, the success of the piece and the instantaneous lifting of the pressure of it off of our collective shoulders helped immensely. So did being done, and thus able to go retire to the camper and just read (I did stay for most of the rest of the show, though, until the mosquitoes emerged and began eating me alive).

I also discovered a technique that really helps D and me: right before we went on, we simply talked our way through the piece, back and forth, each of us simply stating the short-hand name for our moves[5].

  1. Except for the ballet part: since I do that by myself, and I sometimes find it quicker not to actually attempt to get the language bit of my brain firing, I just visualized and went, “Balletballetballet, maybe some other ballet” there.

We each went on feeling like the other knew not just the skills required, but the sequence in which they needed to be called up, and it let us both relax. Handy!

~

Anyway, there’s video of the whole FlowCase, but it won’t be ready for a couple of weeks. I’ll watch it, even though I’m not sure I want to (the performance felt really good, but when I watch video, I tend to get hung up in my flaws).

This week, I’m taking two days off to get things back to normal as much as I can before diving back into class and so forth. I am vaguely regretting not signing up for our AD’s master class, because I know a couple of people who are taking it and it sounds cool, but I also recognize that I need a breather.

I need a couple of days to just do day-to-day life stuff. Mentally speaking, I already feel like the summer is more or less over: I’m away for two weeks of July on dance intensives (LexBallet and Pilobolus), then possibly again for much of August and the first week of September (depending on a handful of circumstances) for Burning Man. Because I struggle with time, the idea of those giant pre-planned blocks makes it hard to understand that the rest of the summer, the windows between those bricks, exists.

Inevitably, when I take a couple of days off, there’s a part of my brain that remembers how nice it is to have the whole day to do the things that need doing (or, if possible, to do nothing, or do only things that don’t need doing). Occasionally, a very quiet voice in the back of my head whispers, “Wouldn’t it make more sense to do this than to pursue your insane visions?”

I remind it, of course, that “it makes more sense” hasn’t really worked out for us in the past—that I’m not actually great at predicting what makes sense; that (perhaps more importantly) the pursuit of impractical dreams, Quixotic though it may appear, keeps the wind in my sails.

Someday, I’m sure, it probably will make sense to ease off the accelerator a bit; to drop out of the big ring. Right now, though, I’m riding to ride the hills; I’m dancing to feel the sensation of soaring at the top of the grand assemblé porté.

And, yet, I think it’s good for me, having a life in which something as powerfully thrilling as Friday night’s performance is followed by something as entirely mundane as getting out in the backyard to chop up the branches that are still waiting there for me.

To misapply Jack Kornfield’s magnificent summary of Zen practice: “After the ecstasy, the laundry.”

So there we are. Back to class tomorrow, though I am sure I’ll sorely (ha!) regret jumping back in with Killer Class instead of something gentler.

A Few More Thoughts On Choreography; More Good(ish) Classes

D and I are now rehearsing our #Playthink piece.

It’s actually going much better than I expected it to.

As one does, I’ve re-written essentially the entire piece now that I’m setting it on actual people and not just on myself prancing about in the studio and waving my arms to vaguely represent the acro moves.

Initially, I had one vision in mind. Because I was futzing around with it by myself, it involved a lot of ballet.

Now, of course, that has changed. I mean, there’s still ballet: there’s always going to be ballet because, hello, it’s me. That’s kind of what I do, apparently.

But choreography has a way of getting away from you. You begin with one vision, and as you actually create a dance and actually set it on actual people, it transforms.

I suppose that this is because, in a way, a dance is sort of a living thing. It’s a little like having a child (though, of course, on a very different scale) or maybe an elaborate pet. You might think, of a horse, “I’m going to train this horse to be the best cow pony ever,” but the horse might actually not be any good at being a cow pony. It might turn out to be a dressage beastie or something else[1].

  1. My philosophy on training horses was very much shaped both by my childhood trainer and also by the trainer of my friend’s lovely Arabian gelding, which began life as what the Arabian show world in the US calls a “park horse,” morphed into what the Arabian show word in the US calls an “English pleasure” horse, did a brief stint in Arabian-show-world western pleasure, and then eventually found his calling as an endurance racer. Basically, the lady who was responsible for training the horse felt that you needed to figure out which discipline suited the horse, and then train it to be as good as it could possibly be at that discipline. I think that’s a good way to do it.

Anyway. I digress.

So this dance is now almost a steady stream of rather-balletic acro and physical theater, and I’m okay with that. One of my goals was to build a dance that tells a story, and in this case, the story is kind of funny and implausible, and acro and physical theater are good ways to tell it.

I’m not going to try to force this dance to be something it isn’t. I have an entire lifetime in which to craft ballet pieces on ballet dancers (I keep joking that I have this entire three-act ballet in my head, now I just need about fifty dancers and a million dollars or so to get it off the ground … but, really, I do have an entire three-act ballet in my head, and it’s taking up a lot of space!). Right now, I’m working with one ballet dancer (me!) and one Denis, and that presents its own set of challenges and limitations.

Honestly, in creative work, it’s so often the limitations that free us to innovate (just as necessity—or, just as often, laziness—gives birth to invention).

The neat part is that this has led us to inadvertently create a new acro move. I mean, probably someone, somewhere has done it before, but I’ve never seen it. It happens to be one that requires that the flyer have a legit center oversplit (among other things), so probably there are a lot of people who can’t do it. Bony impingement is real, it’s just not something that I experience.

Anyway, the sequence involves moving from this:

stag

Kind of, erm, scorpion? thing…

…to this:

stag-x2

Double stag…

…to this:

superman

Superman? Deep sea dive? Front balance? Limbs bird?

…via returning to a standard vertical candlestick, then opening to a straddle and rolling down onto the base’s feet, and then rotating your legs back and around into the position above (the arms also have to do a thing, obviously).

The same basic end could be approached by moving from the vertical candlestick into a pike candlestick and lowering both legs down that way, but I don’t think it would look anywhere near as cool.

Annoyingly, when I snagged these screenshots, I completely failed to get one of the straddle transition. At the time, I think I was like, “A still photo of this isn’t going to impart any useful information.”

Anyway, you really have to have a perfectly flat straddle for this particular sequence so you don’t just rip your legs off, because your hips take a lot of your weight in the middle of the transition. Basically, if lying face down in a center split feels stretchy, this isn’t the sequence for you.

You also kind of need really good turnout in order to do the rotation bit.

The fact that D literally cannot straighten his legs in an L-base also means that I kind of drop myself onto his feet. Eventually, I’ll reach a point at which I can do a complete smooth rolldown whilst upside-down in a full center split, which will make things a little easier, but right now there’s a gap between the end of my smooth rolldown and the end of Denis’ range of motion (because my core strength is still only pretty good, and not completely awesome).

I wanted to use a sort of grand rond de jambe as an exit, but that also takes more adductor power than D has right now. If I bring my downstage leg to second, then rond it over, the force makes his right leg (which supports my left hip) shift, and I fall off 😀

We’ll get it eventually, but not in the next two weeks.

So there’s that.

Anyway, classes were good-ish yesterday and today.

Yesterday’s, in fact, was fairly lovely. Today’s was our first Advanced Class with JAB (OMG, his initials are seriously JAB!!! XD), who really does actually give an advanced Advanced Class.

On the upside, I’m finally (FINALLLLLYYYYYY) jumping again for real: grand allegro and everything. Cabrioles with turny bits, even (though I think I kept turning them into some kind of cabriole-scissor hybrid and landing on the wrong leg).

On the other hand, possibly because I went to a party last night and didn’t get to sleep ’til almost 4 AM (and then had to wake up and eat a sandwich, which was surreal because I was still pretty tipsy and more than half asleep), my brain was for the birds today.

I struggled because there were gaps in my recall of Every. Single. Combination. once we left the barre. The bits that came off, though, mostly went pretty well (except for a weird disaster in adagio during which I basically fell off my leg and then couldn’t get back on because gravity is the worst thing sometimes).

I also hit up a new class at Suspend, which is basically floorwork for acro.

You already know how much I love floorwork, soooooo…

Anyway, we got to break out our improv for the last 10 minutes of class, which resulting in some video that’s party really cool and partly like WHY DO YOU KEEP NOT COMPLETING THE MOVEMENTS WITH YOUR ARMS, WHAT IS WRONG WITH YOU.

But, anyway, here are a few nice shots from this morning’s video, just because I like them:

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Also, I feel like in the arch picture, my butt looks like a couple of angry badgers having a fight. Muscular angry badgers, though.

The tape, by the way, is just there because a tree stabbed me in the foot yesterday :/

Anyway, I was being annoyed with myself for not making the effort to do quadruple turns today, and then realized that I’ve somehow, like, sideswiped my ballet goals without realizing it. Like, basically, I’ve made a significant dent in them and didn’t even notice.

Basically, one of my major goals for this year was to nail down reliable triples and unreliable quadruples, basically. And, bizarrely, I have achieved that goal. I had this weird epiphany on the way home from class yesterday: I realized that, like, a year ago or so, even doing one little triple turn more or less by accident was the most amazing thing ever.

And now I’m like, “Meh, triples, yawn,” when I don’t try for quads.

So, basically, I need to pause and appreciate how much progress I have made.

For what it’s worth, I’ve also got turns in second sorted. They’re not always beautiful (or, let’s be honest, even pretty), but I can always do them. Just not always sixteen of them.

So, yeah. There you go. I feel like I’m “back,” more or less, right now.

Of course, Choose Your Own Intensive begins Monday, soooo… . .  .

A Brief Hello

I’m apparently in a bit of a rut right now, of the irritating kind defined by the feeling of being sufficiently depressed to find socializing exhausting but not so depressed that you can’t see that A) you’re depressed and B) you’re kind of a jerk right now.  

On the other hand, good things are happening regardless, to wit:

  • I can finally jump reliably again! (And I am So. Out. Of. Shape. But I can jump, so that’ll be sorted soon enough.)
  • Ballet Detroit’s master class was superlative! Literally one of the best classes I’ve ever taken and also one of the hardest. Rayevsky gives a heckin brutal barre, but in a good way. Meanwhile, our final exercise across the floor involved (for the boys) sixteen grand pirouettes. On each side. I managed eight on the right; I literally can’t remember what happened on the left =:O I will be working on these with BW.
  • Got my triples back going right. Going left, turns still feel a little weird on my healing foot, so I’m working on getting clean ones and not focusing on counts—so it’s singles and doubles, which I mostly don’t do like a crack-addled wildebeest. Mostly.
  • Did a … We’ll call it a “quarduple.” Not quite a real quad, but a proper triple that ended with I … AM … GOING AROUND …  AGAIN … DAMMIT!!! It wasn’t pretty, but it happened.
  • Did turns at the barre without panicking because there was no time to panic, because the in question was like “8 counts AND TURN! 8 more counts AND TURN! Now repeat (AND TURN!) and reverse (AND TURN!)”   
  • Also landed a double tour out of sheer terror. Apparently, I perform best when I’m basically terrified of disappointing my instructor. Sadly, I didn’t even really clock the fact that THAT HAPPENED at the time because, you know, sheer terror. 
  • Got a scholarship for Pilobolus’ intensive 😀
  • Picked up my first Official Dance Paycheck. YASSSSSSS. 
  • Learned that D can Bluebird Lift me.

So those are all good things that happened. I’m hoping that now that I can jump again and have survived a double tour once, I’ll stop psyching myself out of double tours. 

PS: I can only Bluebird Lift D if he climbs into it, partly because he’s harder to balance than I am because he’s not as good at engaging all the things, but also partly because my arms are short. 

PPS: I realized that even though I know how to lift people bluebird-stylie, trying to be lifted us confusing as hell when you’re trying to remember where your hands go when you’re doing the lifting and translate it to placing your bodyparts appropriately. 
😁

Break and Reset

Our run of Orpheus went well—it wasn’t 100% perfect, but it was close enough. Our audiences didn’t know it wasn’t perfect, and that’s all that matters. We got another really nice review, as well.

Surprisingly, Mom loved it! I wasn’t sure what she’d think, to be honest. She’s been an avid fan of the performing arts for far longer than I’ve even been alive. I wasn’t sure that the combination of silent theater, aerials, and modern dance would appeal to her. In fact, she thought it was great (and not just the parts I in :D). I don’t think I would have predicted that!

For me, there was definitely a trial-by-fire element. I’ve never had so much choreography to learn for one show, and we had such an oddly compressed rehearsal schedule. On Wednesday, we were still pretty shaky about some things; full of challenging doubts. On Thursday, though, everything seemed to suddenly gel. I guess that dancers, like beans, cook faster in a pressure cooker!

Anyway, it was a learning experience in all regards, and a good one. Nobody ever did call or email to tell me they’d cast me by mistake, so that was cool. Our playwright said that my portrayal of Eurydice’s strict, mean father (we nicknamed the role “Papa Eurydice”) was one of his very favorite parts 😀 (That was one heck of a fun role, too.) I discovered that I like the acting bits almost as much as the dancing bits, and the I love the acting-via-dance element like crazy.

I learned that two shows in one day is very doable.

I learned that I look rather good in a slick 1920’s coiffure 😉

Sleek, eh?

The most important thing that I learned, though,  is that I can recover from mistakes without telegraphing them. I only made a few (basically, one biggie per show), but they felt enormous—like, at one point, I wound up way off my mark before a sequence en manège, basically standing at 5:00 instead of 7:00. I still have no idea how that happened, but it did.

In a way, it was funny: I rose from a floorwork passage and thought, “Something feels wrong, here.” By the time I realized that I was way off my mark, though, it was too late to move. Instead, I jumped into the manège sequence where I was, then adjusted by pivoting around another dancer at the end so I would wind up in the right spot. She also tried to adjust, and we bumped into each-other, but we made it. The audience didn’t even notice.
This week, I think I’m going to take it easy a bit. I’m taking a day off-ish today, though I think I’ll be back in class tomorrow. Friday, we’re heading out of town to celebrate our 5th anniversary.

Speaking of which, D gave me a mind-blowing anniversary gift:

I was stunned, but not so stunned that I couldn’t break out the single knee-hangs.

The portable rig is by Ludwig; Patti at Aerial Animals made the trapeze. I didn’t think to ask D where sourced the silks. When I asked about the mats, he said, “We’re making China great again,” heh.

The amount planning and subterfuge that went into this is incomprehensible! On the other hand, if I ever need a team of aerialist secret agents who can keep a secret, I know who call! More or less everyone was in on this, and planning phase dates back to January; maybe earlier.

Meanwhile, I had literally no idea this in the works!

Three From Acro

PlayThink 2017!!!

I just got notification that we’re in for PlayThink’s performance showcase this year! 

It’s official!

I have a couple of months to teach D our choreography and work any kinks, which should be plenty of time.  

My inspiration! 😀

For this act, I’m putting together an acro/ballet/physical theater piece to Charles Trenet’s classic, “La Mer.” I think it’s going to be a lot of fun. The piece is built around a couple of bumbling tourists at the seashore. Since its 100% mine, I’ll post rehearsal clips once we start working on it.
You guys, I’m so excited! This will be our second year teaching, but our first year performing at PlayThink.

I can’t wait!

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