Category Archives: ballet lessons
L’Ancien continues to rebuild us.
Today was not my best dancing day, but it was acceptable at times. Weather fluctuations are leading to mold blooms and so forth that make my allergies crazy. Ears are connected to noses and throats; all three of mine develop problems.
My hearing gets iffy. I miss bits of combinations (L’Ancien delivers his combinations very quietly, which makes us all listen as ahard as we can) and I start to get stressed out and tense, even though L’Ancien tells us over and over again, “Don’t worry if you do the wrong step. This is class. This is an exercise. That’s not what I’m looking for.”
He’s really not. He cares less what you do; more how you do it. An approximation of the exercise done beautifully will make him happier than a perfect log of the steps done without feeling.
But still, sometimes I get nervous when I feel like I can’t hear.
Still, there were good things: the petit allegro combination in which we did fancy pas de bourrees of a kind that none of us (not even Killer B) had learned because evidently almost nobody teaches them(1)—that is, pas de bourrée a quatre pas and –a cinq pas—coupled to entrechats quatres. My entrechats are a thousand times better for L’Ancien’s insistence that we JUMP! and show essentially a second position in the air around the beats.
- They’re taught in RAD Advanced 1, apparently, but RAD syllabus programs aren’t exactly a dime a dozen around here.
It’s not just switching the feet: I can do that all day. It’s launch STRIKE! beat STRIKE! land fifth.
Last year, I learned to prevent “flappy feet” by thinking about my beats happening higher up in my legs. L’Ancien is transforming them into something worth looking at.
…Which is good, because apparently my assumption that I’m not built for petit allegro is incorrect.
After class I thanked L’Ancien for reviewing and clearly explaining petit battement. He pointed out that the configuration of my pelvis, which is rather shallow, is good for quick batterie.
I suppose I should’ve figured this out earlier, as I was the first member of my first childhood ballet class to nail down entrechats and so forth.
A few weeks ago L’Ancien mentioned our dancer RS, who does a stellar Bluebird (so much so that when my brain chooses to reboot and I can’t get his name to come to mind, I refer to him as “our Bluebird”), and how his shallow hips and relatively short torso make him well-suited for petit allegro. He said the same thing to me today, about my own body.
This is one thing I really appreciate about his teaching style: he teaches to his individual dancers, and not to some nonspecific imaginary dancer, as much as he can.
It’s worth noting that he does this not only by pointing out our weaknesses, but also by pointing out our strengths. By ballet standards, I’m a muscly kind of boy (which always results in a frisson of cognitive dissonance when I’m moving in cirque or modern dance circles, where I’m borderline dainty).
Too often, as dancers, we find ourselves lamenting what we don’t have (in my case, David Hallberg’s “imperially slim” build, with its endless, beautiful lines) instead of celebrating what we do have (…what K calls “that Bolshoi body,” with the enormous, ridiculous Legs of Power and square shoulders that let you do Bluebird left like it’s NBD).
- If you know this poem, you know that it’s beautiful and also a tragedy. I’m not calling Hallberg a tragedy; I just like that phrase. It sounds like him.
In the end, we have to learn to work with the bodies we have: to make the most of them. I think I’ve touched on this before.
Up until now, I have been learning technique—building the elements of movement—but perhaps haven’t learned my body as well as I could have.
By way of analogy, this is like painting in watercolors and being frustrated that they don’t behave like oils. I’m rather a good watercolorist, and that’s partly because I understand how watercolors are and I work with them accordingly.
As a dancer, then, I need to begin to understand how my body is and to work with it accordingly.
I suppose that, once again, it comes down to this basic principle: start where you are.
That means don’t force your turnout, but it also means, discover your gifts.
If you only ever know what’s not great about your body, you’ll never optimize your training as a dancer. Quietly, gently, firmly, L’Ancien says to us, Learn what is great about your body. Every body is different. Every body has gifts.
But also start where you are. Know your strengths; know your weaknesses; train accordingly.
I’ll try to remember all this tomorrow at the BDSI audition, though I’ll also try to just have a good class and enjoy the singular pleasure and specific torture of Vaganova technique.
I hope that I’ll make the cut—not so much because it would make me feel good about myself as a dancer (though I’m sure it would), but because I think two weeks of Nothing But The Vaganova, imparted by a roster of master instructors, is enough to make anyone a stronger, better dancer.
And, possibly, a good way to learn to optimize on one’s strengths.
Yesterday, D and I met up with some of my ballet girls at a showing of the Norwegian documentary Ballet Boys, which follows three teenage dancers at a critical period in their training—the point at which they’re deciding whether to continue training and possibly to pursue careers as dancers.
One of the three is absolutely all-in. The other two aren’t as certain. One of them mentions the reality that one faces as a dancer in training: that there’s no time for a typical adolescent social life. He walks away, briefly, from dance—but he literally can’t stop dancing, and ultimately he returns.
I was reminded of a conversation I had not long ago with my friend RH: I said something about how working in dance involves a lot of sacrifice, but it’s willing sacrifice, joyfully given. He said something to the effect that he didn’t see how sacrifice came into it.
For a second, I honestly felt kind of angry. I almost responded with anger.
Then I realized that my anger was the knee-jerk response that dancers evolve as a defense against the fact that people who don’t dance haven’t the faintest hint of a clue about how hard it is; how much it demands. They often seem to legitimately believe that we spend all our time riding unicorns and eating cotton candy and swimming in the fountains of money we get paid for it, when in fact our lives are more akin to monastic vocations—we work grindingly hard, often for peanuts, because we’re called to the Work.
And then I realized that, okay, from his perspective, the commitment and sacrifice required probably aren’t visible, let alone obvious.
RH doesn’t dance, but he knows that I love dancing. He knows that dancing makes me unbelievably happy.
He works in technology, and he loves tech—but he doesn’t love his work in the all-consuming way that I love dancing. The work that he does in the tech sector isn’t the work he’d choose to do if money was no object, and it doesn’t always really work for him. Dancing is absolutely the work I would choose to do if money was no object, and it works for me in a way that nothing else ever has.
Perhaps a bit ironically, I’m working in dance in part because, at the moment, money is an object: to dance at the level I want to, I need to make dance pay for itself. But it’s still what I’d be doing if we suddenly received a windfall that would set us up for life.
That doesn’t, however, mean there’s no sacrifice involved.
Every now and then, someone will say to me, “I wish I could do what you’re doing.”
I try to listen and respond with kindness; with an openness to the nuances of meaning that underpin what they’re saying. I try to factor in things like financial challenges and family commitments (kids change everything).
But what I want to say, most of the time, is this: You could.
Part of what people are saying, when they say that, is this: I wish I was talented enough.
Sometimes, the people saying it are more talented than I am. They may not have as much training, but in terms of raw aptitude, they have the goods. They just need the training to use their aptitude.
I have pretty strong aptitude for dance, don’t get me wrong—but talent isn’t really the deciding factor.
Sometimes they mean, “I wish I’d danced as a kid.” There’s an assumption that it’s essential to start before your bones stop growing—especially in ballet.
Early training does exert some influence—but it’s not the deciding factor, either. My bones are constructed in a way that allows for 180-degree turnout; my feet were definitely shaped by my early training. But there are much, much better dancers than I—professionals at major companies with a lifetime of training and still have less turnout and mediocre feet; but also late-starters without great turnout or awesome feet who have gone on to forge careers out of nothing.
Early training isn’t the deciding factor, either.
The deciding factor, at the end of the day, is sacrifice.
So what, then, do I sacrifice to work in dance?
First and foremost, time.
To work in dance, you have to dance. Dancing eats up oceans of time.
It’s not like training to race bikes as a serious amateur. That you can do around a life that allows some time for other pursuits. You work to develop fitness and riding skills and racing know-how—but a lot it you can do (and ultimately do do) alone, in the interstitial hours around the job that pays for the bike and the racing license and the entry fees.
Dancing requires technique, fitness, and artistry. All of these things, in turn, require a time-commitment that will eat your life. You can potentially fit your training in around another job (and make no mistake, your training is a job), but in so doing you must acknowledge the fact that you will literally have time for nothing else.
I don’t race bikes anymore. I barely ride anymore. I don’t play video games that can’t be squeezed into a few minutes here or there. I’m never up to date on TV shows. I rarely manage to swing a night out, and when I do, it’s almost always with other dancers from the class or rehearsal that ends right before said night out.
I schedule my “life” around dancing. Even my occasional bouts of paid non-dance work are subject to the demands of class and rehearsal schedules. I give up weeks of the summer, when sane people are enjoying cookouts or canoeing, to sweat my ass off with other dancers in the interest of professional development (but also because I love dancing more than anything else).
I rarely manage to snag an evening alone with my husband. Fortunately, he’s okay with that. We make the most of whatever time we can grab.
If he wasn’t okay with that? To be honest, I’d still choose dance.
My time belongs to dance, and it will for the foreseeable future.
As a function of time, I’m also sacrificing money. I could land a job tomorrow that would pay thirty times or more the amount I made as a dancer last year. It might even allow me time to dance as a hobby. It would, in one fell swoop, make us very secure, financially-speaking.
It would also mean giving up the career, such as it is, that I’m building now.
Dance is a demanding muse.
I have back-burnered every other interest except circus arts, and circus arts make the cut only insofar as they allow me to function within them as a dancer and don’t interfere with actually dancing.
I still write, but I do my writing in shreds of time snatched at the ends and beginnings of my days. I often fall asleep while writing in bed.
I know it’ll take me longer to finish the projects I’m working on, but I don’t care.
These are a handful of the things that I’ve cast into the fire in the name of dance.
I don’t mind. They’re joyfully given. I would do all of it again in a heartbeat. If you forced me to live my life over, I’d even do it sooner.
But a sacrifice is a sacrifice, willing or not. That’s the one and only thing that separates me from my friends who would like to do what I’m doing.
- Except the ones who have kids. Denis is a consenting adult who can walk away if he gets sick of playing second fiddle to a career that pays poverty wages. When you have kids, you’re responsible for them in ways that force you to make different decisions. It can be impossible to do what I’m doing and keep the kids fed and housed. In short, kids change everything.
Sometimes, the same people who say they wish they could do what I’m doing are the ones who skip class to just chill, or who opt not to take rep class because it would conflict with game night, or what have you.
I restrain myself from saying, “You could do what I’m doing if you chose dance over everything else.”
Most of the time, I don’t say it.
I recognize that I wouldn’t have understood, back before I started dancing again and realized, finally, that dancing was the only thing I had ever really wanted to do. Either you step into the studio one day and know beyond a shadow of a doubt that you would and will shove everything else off the table to keep dancing, or you don’t.
Both ways of being are valid, good, and necessary—but only one usually leads to working in dance.
As humans, we are great at wanting to want things.
I want to want to paint more often.
I just actually want to dance.
As dancers, we face the generally unconsidered, usually unspoken, and often unconscious assumption that a sacrifice isn’t a sacrifice if you do it to achieve something that gives you joy; that helps you to be a whole.
And yet we recognize the sacrifices of medical students, many of whom pursue their calling for exactly same reason that dancers pursue dance.
As dancers, our calling places tremendous strictures on our time and finances; on our relationships and our personal lives. Just because we’re making art, rather than medicine, that doesn’t make our sacrifice less worthwhile.
Doctors, when they’re skilful and lucky, save lives by cracking open chests to work on hearts.
Dancers, when we’re skilful and lucky, save lives by cracking open hearts.
Sometimes, those lives are our own. Sometimes, they’re other lives.
Regardless, at the end of the day day, the life of a dancer—like any other dedicated life—is one of sacrifice.
Because of that, however, it is also one of transcendence.
Recently I had a chat with a good friend of mine about goals and so forth, and later it occurred to me that I’d failed to say a few really important things—or, well, things that have been important in my own journey, anyway.
They’re things other people have said to me, mostly, though a couple are insights I gleaned by osmosis growing up. They’re things I need to hear too, from time to time, in order to help keep myself on track. I’m writing them down here, where I can always find them if I need them.
Here they are:
1.Identify your actual Wild, Impractical Dream.
This is harder than it sounds. It took me a long time (though it wouldn’t have taken anywhere near as long if I’d just listened to the voice inside me screaming, “GET BACK TO DANCING FFS”).
First, not everyone actually has a wild, impractical dream of this kind: and that’s okay. Honestly, there’s a lot to be said for practicality and reliability, neither of which which are associated with being the kind of lunatic who goes off in pursuit of a Wild, Impractical Dream.
Second, the kind of Wild, Impractical Dream I’m writing about rarely involves the word “and.” It’s an all-in kind of gig: I want to dance for a regional ballet company, not I want to dance for a regional ballet company and ride my way to the top of the FEI stadium jumping circuit.
Occasionally, someone manages a spectacular “and.” Usually, if you look into it, it owes either to truly extraordinary circumstances or happens largely by chance and involves related dreams (dance and musical theater, for example, or visual arts and fashion, or architecture and mathematics).
Usually, though, pursuing a Wild, Impractical Dream requires singularity of focus (not least because tunnel vision helps you ignore naysayers).
Basically, when you discover the thing that makes you willing to put everything else aside, you’ve probably found it.
If the thing is coding or massage therapy, congratulations: you’ve got a Wild, Practical dream. You can still read the rest of this if you want, though. I’m pretty sure that, when it comes down to it, the same basic advice applies.
2. If the phrase “…be (a) famous…” is part of your dream, consider reassessing your goals.
I say this not because any one individual is wildly unlikely to become famous, but because if being famous is part of the motivation, you might actually be barking up the wrong tree.
The passion for the thing, whatever it is—dancing, writing, rotary engines, differential calculus—has to come first.
Otherwise, you’re very probably not going to be motivated enough to stand a snowball’s chance of sticking with it long enough to become mediocre, let alone famous. Wild, Impractical Dreams are harsh mistresses.
If, on the other hand, fame itself is the real Wild, Impractical Dream, own that.
The history of the world is rich with the stories of people who thought, “Man, I’m really not good at anything, but I want to be famous.” The ones who succeed are the ones who acknowledge that fact and dedicate themselves to taking any and every path that might lead to fame until, eventually, one does.
Oddly enough, that’s essentially the same approach that one takes in pursuing any Wild, Impractical Dream.
3. Take Any and Every Path As Long As You Do So With Focus
Maybe ballet is your One True Dream, but in the course of pursuing your Wild, Impractical Ballet Dream, you get an offer from a modern company.
If that’s the thing that’s going to let you keep dancing, take it. Be a good Buddhist and avoid clinging to perceptions and phenomena. Maybe ballet feels like the only thing, but sometimes serendipity leads us via scenic byways. Sometimes modern is the way to ballet—and sometimes, on the way to ballet via modern, you discover you were born for the weird and wonderful world of contemporary ballet.
Just learn to discern between scenic byways and “shortcuts” that leave you in Poughkeepsie. And know that sometimes you might get stuck in traffic for a bit.
4. Stand Up for Your Dream
This might be the hardest one.
A Wild, Impractical Dream is Wild and Impractical at least in part because people don’t “get it.” It might be ahead of its time. It might be way outside of the predominant cultural framework where (and/or when) you are. People might think you’re too young, too old, too black, too white, too poor, too mentally ill, too fat, too skinny, too disabled, too whatever.
Any good Wild, Impractical dream is one you’ll probably have to defend at least once. This requires you to believe not only in your dream, but in yourself—or at least to act like you do.
The funny thing is that by acting as if we believe, we tend to come to believe: we stick around until things start to get real; so real that even we can’t deny it.
5. Accept Change Gracefully (if not Immediately)
Sometimes, in the midst of pursuing your Wild, Impractical Dream, life will intervene in profound and unexpected ways.
It’s okay to be upset when that happens. Feel the feelings. Have the meltdown, if a meltdown comes along.
The death of a dream is a very hard thing. Even the temporary side-lining or minor refitting of a dream can be hard.
But change is inevitable, and sometimes change knocks is off one course and puts us on another.
Fight with conviction for your Wild, Impractical Dream, knowing that in the end you might not get there. It’s worth doing anyway.
Sometimes, in the process of navigating your life, you look up and realize you’ve passed a bunch of waypoints without even really noticing.
I’ve been thinking about this a lot lately: I realized that I needed to update my dance resumé, which pretty much made me laugh out loud, because I’ve come a really long way in less than one year, and I totally failed to notice.
In short: this year, my life has suddenly taken off.
Or … well. It feels sudden, but when I think about it, it really isn’t.
(moar behind the cut; it’s long)
I started to read this article by Benjamin Hardy on why most people will never be successful.
It caught my attention by leading with a negation of the equation “money=success”—a negation with which I concur.
A few lines further on, though, this bit rolled in:
To be successful, you can’t continue being with low frequency people for long periods of time.
You can’t continue eating crappy food, regardless of your spouse’s or colleague’s food choices.
Your days must consistency(sic) be spent on high quality activities.
To which I say:
The article in question goes on to prescribe a reasonably-okay definition of success centered on the verb balancing, but by then, Hardy had lost my buy-in.
Because success doesn’t necessarily mean never eating crappy food. Nor does it necessarily mean completely eschewing “low-frequency people” (whatever that means). Part of success is being able to roll with the punches (or, as autocorrupt appropriately suggests, “the lunches”)—to accept without judgment that the occasional bag of Doritos can be good for the soul, and that humility is a critical faculty.
Added a “More” tag because holy philibusters this is long.
When I talk about transitional steps, I often devolve upon the example of the floor exercise in women’s competitive gymnastics.
It’s a handy example, because most of us have watched gymnastics at one point or another (even if only in the heat of Olympic fever) and floor exercise is, in some regards, the easiest apparatus for the uninitiated observer to understand.
What isn’t as easy for the uninitiated observer (or even for many experienced observers and extensively-trained gymnasts) to understand is why some gymnasts just look so much better than others — so much smoother and more polished.
More often than not, the secret is in the transitional steps.
Historically, American gymnastics training programs have focused on training skills and little else. The skills themselves may be brilliantly executed, technically precise, and powerful: but technically perfect skills alone do not make a beautiful, exceptional routine.
For beautiful, exceptional routines, the Russians tend to lead the world: and there’s a reason for that.
The Russians train the bejeezus out of the skills, but they also dance.
When you watch a top-notch Russian gymnast doing her floor exercise, it isn’t a series of tumbling runs, balances, and isolated skills loosely linked by half-hearted shimmies. It’s a single, coherent entity from start to finish: a choreographed dance that happens to feature explosive, difficult, highly-technical gymnastics skills.
The difference, in short, is the linking steps: all of those apparently non-essential moments that take the gymnast, judges, and audience from Point A through Point Z.
Even in moments of stillness, the best Russian gymnasts continue to dance — just as ballet dancers are dancing even when they’re standing in B-plus for fifteen minutes while Odette gets her swan on.
So much of ballet happens in the transitional steps: the ones that carry the dancers from pique arabesque to entrelacé, or from tour lent to dèveloppé ecarté avant.
For the dancer (or gymnast), transitional steps serve important preparatory roles: think of precipité and failli, which essentially never appear on their own outside of the lesson, but which precede so many important moments in performances.
For the audience, transitional steps serve as the visual links that join the more dramatic steps of the dance into a cohesive whole.
As such, they’re extremely important: but often, as dancers, we neglect them in preparation.
One of the reasons — in fact, I would argue, the main reason — that great Russian gymnasts’ floor exercise routines look so beautiful is that they don’t neglect the transitional steps.
Russian trainers don’t treat dance as an afterthought; they school their charges in using transitional steps and maintaining line throughout their movements. As a result, the Russians’ floor exercises continue to be gorgeous (and they essentially own the sport of Rhythmic Gymnastics, which depends even more heavily on dance than does floor exercise in Artistic Gymnastics).
One of the reasons that American gymnasts’ floor exercises, even when technically perfect, are rarely as beautiful is that American trainers do tend to treat dance as an afterthought. Many gyms, in fact, don’t actually teach dance as a discrete element at all. Instead, they do their best to “work it in” when teaching routines.
As a result, their gymnasts’ performance suffers.
The same goes for dancers: so often we devote all our time to learning what we think of as the big, important steps — at the expense of the transitional steps that link everything together into dance.
We do this in life, too.
So often, we’re so eager to get on to the Next Big Thing that we fail to adequately prepare. With our eyes on the far horizon and our feet moving forward in the now, we stumble over pebbles and fumble through our preparations.
Often, the Next Big Thing suffers as a result — it may succeed, but perhaps not as well a it would have if we had paid attention to our preparation; if we had learned the transitional steps and used them well.
As dancers, when we learn choreography, we do well to focus on ingesting and interpolating that transitional steps — not only will they allow us to execute our big, technical steps with elan, but they help us remember the dance. Each transitional step becomes a cue; common transitional phrases (tombe-pas de bourreé-glissade…, for example) become “hooks” we can use to get ourselves back into the dance if we get lost.
A good glissade or chassé allows us to gather momentum, place ourselves, and load our springs (via plie) in order to execute those high, brilliant, explosive jumps we all love.*
*Worth noting: Sometimes, choreography starts with transitional steps.
The past two weeks, we’ve been working a combination in Ms. B’s Killer Class that nominally starts with temps de flèche, but really starts with a coupé tombé that transfers the weight and loads the springs, allowing us to blast the temps de flèche off like we were launching from Cape Canaveral.
An effective tombé to fourth or second makes a square, quiet place from which to launch a turn, or three turns, or five turns.
These are basic steps, mostly learned in the first year of class: but, like everything else, they are critical, essential, and never perfected.
Wise dancers continue to work on transitional steps as long as they continue to dance.
We can all take a page from that book: the same principle applies to life in general. We should pay attention to our transitions; work on them; prepare them.
In the end, they’ll make our big moves smoother, cleaner, and more brilliant.
Today’s post is inspired in part by my own tendency to neglect the transitional steps in favor of the big ones, my attendant quest to freaking well stop doing that, and the fact that I’ve realized I’m in a transitional period in my own life right now and should be paying attention to the transitional steps instead of just going, “Man, when do I get to the part where I get to do coupe jeté en tournant en menage?”
Or, you know. The life-outside-ballet equivalent.
Little by little, piece by piece, Ms. B of Hard Mode Ballet Class is making a dancer out of me.
Not just a guy who knows how to execute a bunch of ballet steps, but a dancer — someone who executes a bunch of ballet steps with élan; who uses his head and his eyes and his port de bras; who relates to the music intelligently and expressively; who doesn’t grip with his neck, for frack’s sake.
In order to do that, one must learn one’s own body in depth: how to feel the minute muscles in the hip socket; how to knit the ribs together without collapsing; how to open the collarbones without throwing the shoulders back behind the hips.
One must also learn how to get out of one’s own way.
There’s a magical thing that happens when you learn how to get out of your own way: suddenly, things get easier.
In order to execute a high, smooth grand rond-de-jambe, you must know where to place your pelvis so you don’t block either your extension or your turnout. The first time you find that balance (perhaps after having had it and then lost it), it’s like magic.
Curiously, some dancers naturally find it early in their training only to lose it again as they begin to work more consciously on turnout, placement, and extension.
That’s pretty much what happened to me: I started really thinking about pelvic placement about a year ago — and at first I over-corrected, as is my wont. As I began to work into more advanced classes and to work towards higher extensions, I found myself inexplicably blocked at times: and then Ms. B got around to sorting my pelvis, and it turned out that I was basically getting in my own way.
Once I let my pelvis find its own neutral spot and stopped thinking so hard — once I got out of my own way — my extensions got better, my turnout got better, and I could start really thinking about other stuff.
Ironically, the whole source of the problem with extensions and turnout resulted from a conscious effort to place my pelvis so I could … like … better access turnout and alignment.
I think this makes a good allegory.
Often, in life, we get so concerned about being correct that, in fact, we over-correct. We try really hard to do things just right, and we find ourselves stumbling into unexpected road-blocks; tangled in the intricacies of the details.
In short, we get in our own way.
Sometimes, the best answer is to stop thinking, stop concentrating so hard on being correct, and get out of our own way. (This is, I am almost certain, a corollary to the rule, “Don’t make it happen — let it happen.”)
So there you have it. If you’re having difficulty in your dancing or in your life, maybe try loosening the reins and getting out of your own way. It might just help!
So that’s my Ballet Lesson for today.
In other news, I apologize for my recent absence. I’ve had a sinus infection, and the first really noticeable symptom (besides, randomly, pain in my teeth) was a wicked fatigue that seemed to come from nowhere. I haven’t been posting because, in short, I’ve had nothing to post. I’ve basically been asleep, for the most part, for the past week.
I did do part of class (and part of juggling class) on Saturday, but I was actually too tired to write about it afterwards, which pretty much tells you everything you need to know. If I’m too tired to write, I’m probably too darn tired to do just about anything.
Yesterday, I struggled to get my développé to 90 degrees, let alone above. The muscles whose job it is to carry the legs just said, “90 is all you’re getting today, and you’re only getting it at the cost of immense effort.”
I blamed my lack of condition, of course — which was fair, but missed a critical element: the cross-training problem.
” Cross-training” means training until you’re feeling cranky and irritable, then kvetching at your poor innocent husband for no good reason.
Wait, that’s not right.
“Cross-training” means, in short, mixing it up to keep things balanced — tossing in a little cycling if you’re a dancer, or a little dance if you’re a cyclist.
The operative phrase, here, being “a little.” Or, well, “just enough.”
Last week, I banged out several hours on the bike, including a bunch of zippy climbing sprints, and basically none in the studio.
Should it come as any surprise, then, that I’ve managed to lose a bunch of the ground I had gained in correcting the muscle-balance problem attendant in being someone who, for several years, spent around twenty hours a week riding a bike and did essentially no cross-training?
I am lucky, in a sense, in that my body adapts very readily to exercise — but I tend to forget that, as in everything else, if I want the balanced muscles necessary for ballet, I need to make sure I’m not essentially overspending in one area while underspending in another (an aside, here: it says a great deal that autocorrupt — ahem, that is, predictive text — recognizes overspending as an existing word, but not underspending).
While a trained cyclist does make some use of the muscles that flex the thighs, it’s paltry in comparison to the use made of those that push down (I’ve touched on this before). Especially for someone like me — one who straddles the line between light rouleur and climber, and thus relishes his ability to crank out brutal speed on short- to medium-climbs — it’s all too easy to lose sight of how quickly that can add up to a disaster at the barre.
When I wrote yesterday’s post, I had forgotten that a couple of Saturdays back I was enjoying easy extensions well above 90 degrees even though my right hip was still weirdly tight. A couple of classes before that, I wrote about the fact that getting the leg higher made a promenade en dedans in écarté derriere (or was it avant? I’ll have to check that later) much easier — and when I said higher, I meant “hey, my toes are basically at shoulder-height right now!”
So basically, I’ve now created a situation in which I’ll need to overcome a muscle balance problem again, one which I’d sorted before.
In short, this means dancing more and riding less (and more gently; probably no more 20+MPH sprints on the rolling climbs for a while) — in short, shifting the balance back so I’m actually allowing cycling (which I do as a matter of course, although I love it) to act as cross-training for ballet (which may be the one thing I love more than cycling).
I’m not sure yet how to achieve this balance — or, well, the exact details elude me.
The “pushing down” muscles in the legs already get a greater workout in daily life (one word: stairs!) than the “pulling up” muscles (or the “pushing up” ones that lift from beneath the buttocks and thigh in ballet), so I need to take that into account.
Regardless, this is entirely a First World Ballet Problem. I recognize that it’s the result of something in my body actually working well (maybe too well), and I’m grateful for that (not that I feel grateful right now, but I’m rationally aware that this is a Good Thing). I also recognize that “développé at 90 degrees” is a goal that many adult dancers find elusive, and I shouldn’t complain too much.
Yet again, I’m reminded that ballet is a great analogy for life (tl;dr: It hurts, and there’s always someone yelling at you — wait, no, that’s not the analogy I wanted ;)). You have to work to keep everything balanced (and not just when your instructor hairy-eyeballs you and growls, “You know you can balance in passé relevé without the barre.”).
So, um, yeah. There we go.
I plan to write about this a bit more, as there are tons of articles out there that day,” Cross-training is good for you!” but not too many aimed at explaining how to figure out how much cross your training actually needs. I should probably Ask Denis about it and just post an interview. Maybe even a video.
Speaking of which, I have not forgotten that I owe all you guys a ballet video about balancé. I’m trying to figure out where to film it.
So that should be coming along soon, too.
We had a rough burn this year – lots of chaos during setup week, then I came down with what we’re calling “the Playa Plague,” which closely resembles a proper bout of ‘flu. I spent the last two and a half days of burn week in bed, feverishly griped my way through tear-down, departure, and all the airports, then went back to bed for another two days. I’m still coughing and “feeling puny,” as it were, but the fever at least seems to have abated.
Needless to say, ballet-related Playa plans were greatly modified over the course of the burn. We had fun doing the first couple of barre classes; the performances, on the other hand, didn’t get off the ground this year because it’s really pretty hard to direct a performance, let alone perform, when you’re in bed with a fever, hacking cough, and no voice o.O
I’ll have to plan for that contingency next year — somehow, it hadn’t even occurred to me that being rather seriously ill on the Playa was even a possibility. I also think I’m going to schedule less stuff — one or two Open Barre sessions, a Taupe Party (which is the logical follow-up to Wednesday night’s White Party), and one performance event, for which I’ll have to appoint a deputy director in case my immune system decides to crap out on me again.
In other ways, this year’s burn was possibly the best yet for me. During the time that I was still up and about, I rolled around the Playa with our camp family on an amazing Mutant Vehicle while our friend John DJed an awesome set, had an utterly transcendental 4AM walkabout with amazing friends, provided ice-schlepping services and improvised dance performances at Arctica, and danced for hours with complete strangers to hits of the disco era in our own little cozy dance bar.
…And even when I was lying around in bed being “pale and interesting” (and mostly asleep), in the moments that I was awake I concluded that I’d still rather be where I was than anywhere else on earth.
I did crawl out of bed on Sunday night for the Temple Burn, which meant a lot to me. We’ve never actually been on the Playa for the Temple Burn before, and at the end of the day I feel like the Temple is a locus of significance.
It’s hard to explain why: as in any sacred space, I guess, each person’s experience is different. For whatever reason, my heart and brain have chosen to invest the ever-changing, transient Temple with particular meaning.
I was surprised by that, the first year. Prior to my first burn, my inner cynic staunchly refused to assign spiritual potency to the Temple simply because it’s the Temple; turns out that once we arrived, my inner cynic had no say in the matter. If there’s anywhere on earth that you discover what it means to take things as they come, it’s in the ephemeral cosmopolis of Black Rock City.
Which is, in the end, what this year’s burn was all about, for me: taking things as they come. Things didn’t go as planned (okay, at Burning Man, things never go as planned, but this year they really, really didn’t go as planned) in so many ways, and yet even in the moments of deepest, grumpiest frustration, I would check myself and ask, “Is there anywhere else I’d rather be on earth right now?”
The answer was always no, which reminded me yet again to be here, now.
Which, in the end, is the only way to take Burning Man — you have to be here, now, because it is much more pressingly clear that later on, the here you’re experiencing won’t be.
The same is true, of course, in every other place on earth: it’s just more obvious in a city that’s built, thrives with the vivid intensity of a post-rain desert bloom, and then is demolished again in a matter of weeks.
PS: There were bugs. I counted exactly three: two different wasps (one of which seemed terrifyingly determined to be my BFF, or something like that) and some kind of lacewing-ish thing.
The stinkbugs and seedbugs had moved on by the time we arrived on Monday of Build Week.
Also, the high desert through which one passes to reach the Playa was decked in heartbreaking, shimmering green. I’ve never seen anything like it. I wrote some more coherent thoughts about it, but I’m not sure where I stored them.
Such is life.
Did Brienne’s class today, and I made it All. The. Way. Through!
(Though I skipped a couple of reps of petit allegro.)
She has a really fun CD of class music called “West End to Broadway” (hence, in part, the title of this post), including some nice, slow pieces for
torture fondu and barre adagio.
Barre is improving.
If you’re a horse person, you know that thing where if you don’t ride or school your horse for a while, sometimes the horse in question acts a bit silly when you put him back to work? That’s kind of where my body is.
It does things I didn’t really ask for, then I correct it, and it’s all, “Oh, you mean those turnout muscles! Okay. No worries!”
However, it’s doing less of that now than it was last week. My successive approximations are closer to the goal state. So, Yay!
Speaking of successive approximations, at center and across the floor, we had nice combos today, and I did the traveling ones, if not worth prefect execution, at least with a lot of elan.
Now, if I could just stop putting in failles where there aren’t any and leaving them out where there are (and adding an extra saute arabesque here or pique turn there)…
But that’s more of my body being a silly horse. At least it’s a silly horse that’s got some style?
Which brings me to the other reason for this title: one of the things my classmates kept mentioning was the struggle to remember the combinations (some of which were fairly complex).
The cool part is that you wouldn’t have known it, for the most part: everyone focused on performing and enjoying themselves, and most of us looked pretty good. (I’ve determined that if you turn the wrong way on the rear point of a triangle, it actually looks pretty cool anyway, so I don’t even worry about that anymore ;)).
I’m back to a point at which I don’t freeze if I blank on the combo halfway through; instead, I improvise. It’s a skill I learned as a musician: nobody knows you screwed up if you don’t let them know.
Of course, in class (okay, and sometimes in big corps numbers), that’s not entirely true, but what you practice in class is ultimately what you will do on stage — and, of course, mistakes do happen during performances, even to professionals. Like we lowly danseurs and danseuses ignobles, they have to learn to make it look good.
And that, too, is showbiz.
(Come to think of it, looking like you meant to do that is an important life skill in general — ask any cat!)
So that’s it for today. The final combination in today’s class went so well (You guys, I threw in a cabriole just for kicks! I’m back!) that I finished up feeling jubilant, ebullient, even bubbly.
Now, home to do computery work.