Magic

Yesterday I had a Moment in class. The kind which not only restores faith in potential abilities, but takes you places. New places. Makes you fall in love with dancing all over again. 

We have been practicing parts of the Grand Pas Classique variation, modified to our level of course, but still a big deal for an adult dancer. Huge. Anyway, I have been watching that GPC with Elisabeth Platel over and over, admiring her brilliant technique, elegance and apparent ease. Did I mention that she is one of my all-time favorite ballerinas? Madame Platel has been to Helsinki many times, and I was once lucky enough to see her dance Giselle (partnered by Manuel Legris). Still gives me chills. Platel has also been visiting Helsinki in preparation for the upcoming International Ballet Competition (May-June 2012), as she will be teaching a master-class for a select group of pre-professional young dancers. And she has been giving courses and seminars to ballet-educators, including my own teacher.

Elisabeth Platel

Yeah, I´m digressing from my Moment. But it was Platel who inspired me, who held the wand for ballet magic. Because that was what it felt like. Pure out-of-body-magic.

So, we have been practicing said GPC variation sans the most difficult bits. It would be crazy not to, since I´ve barely graduated out of beginner´s pointe class. The first eight counts of the ballerina´s solo are almost indentical, but instead of the relevé into attitude we do a sous sous. Our teacher has slowed down some steps, and added bourrées where there are none, but it fits the music. Instead of the piqué turns in attitude we do sous tenus, but with the same arms as in the original. No pirouettes yet, and the ballonés on pointe will undoubtedly be replaced with something else. But even with the modifications there is nothing easy about it!

Post-edit: " Our teacher has (..) added bourrées where there are none." It was kindly pointed out to me that this is not correct. And yes, on careful re-inspection I can see that there are tiny bourrées in the original variation too. Ours were just more pronounced because of the slightly slower tempo. There are of course different interpretations of this variation (as many as there are ballerinas dancing it), even if they are only subtle nuances.

Dear Reader, something has changed, and for the better. I no longer fear The Variation! Yes, I´m still in awe. Okay, dumbfounded is more like it. And I will always have serious respect for anything danced on pointe. But I no longer feel like I want to go into hiding. You cannot dance and keep holding back. You cannot dive into the deep end without jumping off that edge first!

My Moment was a private little affair. Our teacher was giving instructions to the first group (our class is split into 2-3 levels with corresponding center exercises), and my group was waiting and quietly goofing around at the other end. We practice in this huge and long studio, you could pretty much have two different classes at the same time.

I wanted to try out those piqué attitude turns, because I love anything with piqués in it. Piqué into attitude and turn. Not too bad, and I keep trying. Then it just happens. I piqué into a high attitude and do a full turn around, in slow-motion. Any slower and I would have needed a prince to rescue me. It feels like gliding and floating and like I could stay up forever. I´ve had this dream before. Only at the time I was sleeping, not dancing.

Magic is believing in yourself. If you can do that, you can make anything happen.

- Johann Wolfgang von Goethe

Ballet Buzz

I get no kick on a plane. Flying too high with some guy in the sky is my idea of nothing to do.. No, I get a kick out of.. battemants and grand jetés, ballonés and pointe shoes, Balanchine and bourrées! I know there are other addicts out there, but we are not B.A.D. (Ballet Dorks Anonymous). No, we carry our addiction quite proudly, like hearts on our little sleeves. Never mind the dazed glazes of our friends and family, when we recap our classes to the last detail, again and again. Or when we go on and on about the finer points of a McMillan, Ashton or Ratmansky ballet. Or when we dissect the many virtues of Marcelo, Rojo or Hallberg. But thank the heavens and twitter for peer support - I know my non-dancing friends do!

If you don´t dance, you just don´t get it. If you do dance, you can´t do without. It´s a habit that feeds itself. The more you dance, the more you need your classes. Before you know it, you´re cultivating a daily habit. Okay, not daily. Even dedicated and driven dancers need to take a day off. If only to complain about their poor Monday shape the day after.. But your body gets used to it. I loved my Summer Dancathon, taking 5-6 classes per week. Now I´m back to three days a week, which is just not enough! I´m so desperate for more!

My dance-week starts on Monday, and boy do I feel that weekend break! Stiff and hardly any bounce in my body. Tuesday I´m back on my game again, Wednesdays are spent recovering from Tuesdays. Thursdays I´m climbing walls because there is no class (suitable to my schedule and requirements) and Fridays it´s back to advanced class and pointe, but I´m feeling the preceeding two-day break again. I know, I know -  it´s much better than one class or nothing at all, but what can I say? Both body and mind need a regular ballet-fix!

Yesterday´s class gave me such a buzz I´m still riding on its waves. We did a small bit of Balanchine´s choreography - intricate and quick steps and very different from my usual technique class. I´m not sure if it was out of Theme and Variations or some of Mr. B´s other ballets. I asked after class, but I´m sorry to say it did not stick to my memory. Which is funny because I do remember the steps. I gotta say that I absolutely adore Balanchine´s style of movement! And it´s a real privilege to learn (some) of the choreography from Madame, who has also danced in Balanchine´s Serenade (in the photograph above, "seated" right) and Apollo. Once you get your head and feet around the new steps and the speed and the accents, Balanchine is such a joy to dance. Not saying our attempts were any joy to watch though. But I did get a kick out of Madame´s demonstration!

My buzz did not end there. I got some very profound corrections, or lets call them directions instead. You see, I´m always told by my teachers to lengthen my back. I feel that I´ve done all I can, short of growing an extra vertebra. My line is plum, shoulders are mostly down, abs are strong, imaginary someone is pulling the top of my head, and imaginary someone other tugging in opposite direction. Still it is not enough. I can´t do a degagé before my teachers are on my case. Lengthen your back. Longer!  

Again, it goes back to the idea of presenting yourself. I have been standing straight alright, but Madame with her keen eye for the tiniest detail sees that my upper back is holding me, well, back. It´s not so visible as to hit you in the face like a bun gone astray. But it is lacking something. Attitude. Non-apologetic presence. Finally, Madame tells me to lift my upper sternum, and for the first time I think I get it. At least the idea of it. It will take some time to become second nature, but until then I can just fake it. Present myself, instead of holding back. Dear Readers, this is more than relevation, this is a revelation!

I apologize if I´m causing buzz-envy, but it did not end there either. It appears I´ve been jumping my sauts in first all wrong. I´m not sure I do it all the time, but instead of extending my legs in an open première, I´ve been pointing my feet underneath me, with heels almost touching. No idea where I got that from. When Madame pointed this out to me, I was totally baffled (and a little bit embarassed). But: it was the easiest thing to fix. Ever!

Then we did the turning on pointe thing, not piqué turns, not sous tenus, nor chaînés déboulés ( I really have to ask next time). You start from fifth, raise straight onto pointe in fourth, bring back leg in (it stays in the back), turn and open front leg again into fourth, staying up on pointe the whole time. Repeat until you reach end of diagonal. Arms close from 1. arabesque position and open again. The video clip of Lander´s Etudes shows it best, although they cross the back leg to the front (forward to 1:45).


We did this slow, and it was hard. Up, legs together, turn, stay up, open leg, stay up.. Madame, who is not wearing pointe shoes, asked me to demonstrate and darlings, it was not pretty. But I did as I was told, and kept my weight forward and used my shoulder and the inside of my thighs and all the confidence and 'tude I could master. And it worked! By the time we turned to the left, I was having the best time!

Even when there are no short-cuts to technique, ballet remains a short-cut to Happy. Buzzz...

Sneaky Does It

Teachers can be sneaky. Like when they don´t tell you that you´re about to practice a very famous variation, because they know that it would freak you out and have you jeté into hiding before the pointe shoe drops. My teacher is like that. She knows me so well, it´s embarrassing.

The funny thing is that I should have recognized the music right away. I have watched that variation on youtube so many times that Auber´s music is permanently burned on my brain. But I´ve never ever considered trying or learning any of those steps. Dreamed, yes. But which ballet enthusiast/dancer/wannabe-ballerina would not dream of dancing like the sublime Platel?

Piqué passé retiré - pas de chat - pas de bourré dessus - relevé attitude (we did a simple sous-sous instead) - back leg coud de pied - front leg coud de pied with corresponding port de bras - plié into passé retiré - pas de bourré en tournant with legs into high retirés - repeat.. I was concentrating so hard on the steps that I did not realize we were doing the beginning of the female solo of Grand Pas Classique! Way to sneak that in, Signora..

Had you shown me that variation a year ago, I would have deemed it mission impossible. And to be completely honest and get-real realistic, 90 percent of it still is (and at least 65% will always remain that). The attitude turns, the hops on pointe - please educate me as how to desribe them in correct ballet-French - the fouetté pirouettes, and the list goes on and on.. All we did was the first 8 counts repeated twice. You can now go and watch the video, fast forward to 06:25 and stop before Platel does her piqué attitude turns. Remember to replace the attitude relevé with a sous-sous.



I know, for you been-there-done-thats out there, baby steps. For me, a huge deal. I´m so not going to be blasé about it. You may have to trick me into variations, at least until I learn how not to freak out at the sight of Solo Dancing. But darlings, I have to admit it - I loved every classique step!

Stretch!

Had an interesting class last Friday. Was so tired my pirouettes were tilting backwards, ready to fall straight into bed. Never mind finishing class first. And of course our teacher chose that evening to introduce new divertissements. Fun and fast. Or was that fast and furious? I vaguely recall some seriously quick Bournonville-style steps.. The kind that require an alert mind and a state of wake-ness. Instead I was still trying to figure out my feet and counts when my teacher was yelling at me to use my port de bras too! Well, maybe next time.

Much more fun was showing off my seriously improved left-leg extension! First up, we did our usual foot-in-hand stretch (or talon à la main as Madame would say), and it´s been much better for some time already. I have been religious about stretching, which for a tight-muscled and jointed adult dancer is really de rigeur. A must.

Still, after having been at it for some twenty years - you´d think there would have been more impressive results already! Eight years ago (before my three-year ballet break), my best assisted extension to the side was probably toes level with chin. Don´t ask me about degrees, I suck at math. That gorgeous picture (ballerinaproject.com) to the left: add a long arm holding the leg and you´d get my picture (which is a pretty good picture). Since then, more progress has been made. Today, on a good day, my stretchier left leg goes foot-in-hand all the way up. We are talking about 10 minutes before 6 o'clock here. Seriously, I never looked at my ankle from that angle before. And I gotta tell you, it´s a whole new world!

Sadly, we all know that feet-in-hand do not neccessarily stay up without manual help. Usually gravity kicks ass as soon as we let go. However.. I´ve been building muscle for a long time. In fact, a bit too much - I bulk up very quickly. But, now it seems that strength and flexibilty are finally coming together! When I let go off my foot, the left leg stays up at the same heigt as the picture above. It´s a short but sweet moment, much better than my usual crashing down in the blink of an eye! On Friday, when we did our developpés devant into plié, my left leg rose and rose - and look mom, no hands! Of course it was no way near pro-heights, but I´m still very happy about my progress. My teacher noticed too. Now if I only could get my much tighter and lower right leg to follow suit..

Quite a few have asked me to share the stretching & extension magic. But what can I tell you? There really are no tricks and short-cuts. Also, I can only speak for my instrument - and we are all unique in our own little idiosyncrasies.. But what I can give away is this:

Be consistent. If you´re a tight bod like me (talking muscles and ligaments, not over-all firmness), you need to stretch on a daily basis. It does not have to be the same routine and intensity every day, but make a habit of stretching anyway.

Relax. Muscle tightness is often accompanied by tension. Do not force / bounce / jerk / push your stretches. Listen to your body, breath. Be calm and focused. Think long.

Warm up and loosen up. You don´t have to drip with sweat, but don´t stretch when you´re all cold and stiff. Go for a walk or a jog, do push-ups and abs. Loosen all your joints, from head to toe. Use a pinky or tennis ball on tight spots. Even massage the soles of your feet.

Try out yoga. You don´t have to get into the philosophy if it´s not your thing, but you learn many ways to stretch your body. Yoga also helps to get calm and centered.

Be patient. If you want to get into splits (still my holy grail with right leg in front), loosen and stretch everything else first. Be patient. Be consistent.

Check out these links and video for further help:

Improving Extension. Dance Magazine, 2008.

Ballet Shoes Pointe Shoes.. And Adult Ballet Class: How to Start Stretching..

Dance Advantage.net: Stretching Safely for Splits

Photograph: Ballerina Project, dancer: Irina. Photo: Dane Shitagi.

Present Yourself!

So I finally did the near-naked thing in ballet class. Dear Reader, before you skip a beat,  let me assure you. It was not the wardrobe malfunction kind, where you forget to pull up your leo after hurrying (back) to class. And where the first one to notice you all Josephine Baker-like is the only guy in class, sweetly asking you if you did not forget something. I swear this has really happened. Fortunately not to me. Phew. Although, once I had almost too much of a reveal when I was in a very deep cambré to the back. Yay for flexibilty, not so much for too much of cleavage.

Which reminds of a story about the courtesans of old Venice, told to me by my opera-singer/dancer friend. Apparently, when business was not going so well, said ladies obtained permission to display their bounty over the window-sills - thus inspiring new fashions of deep cleavages. And apparently an image helpful to singers and dancers alike. Do not open your ribcage, but stack it over the sill. There you go.

Present yourself! This instruction is repeated to us class after class. Don´t show off your boobs (save this for later), but your jambes, pieds, talons, bras, épaulement, head and eyes. Own your dancing body, and then own the stage. Present your gorgeous arches, heels and legs and upper body. Engage with your audience, imaginary or not. It changes everything, even in class. A dancer who looks down at her feet, loses the line. A dancer who does not look beyond her elongated arm, is closed off in her own little space. It shows.

Yesterday, I started my class as usual - that is in my now-favorite warm-up romper. Comfortable, warm, cozy, hide-it-all. Usually I discard any extra wear after our plié exercise, but I had figured out that you can roll the legs up and and the top down. It´s a very pro-dancer-y look. Really flattering only on a skinny ballet bod, but I like to use my imagination. Anyway, I had planned to toss the thing in my bag right after barre. Which was really no option, as we were all hot and red-faced and sweaty by the time we did our frappés(how´s that for a lovely ballerina image?). But, after I had stripped down and was reaching into my bag for my ballet skirt - there was none! I must have left it in the locker! Our teacher gives us no break between barre and center, so I could not go to look. No choice but to suck it up. Literally.

So, there I stood with nothing between me and the mirror except for one black leotard and black leggings. I did also wear a long-sleeve, cut-off top made out of old black tights, which made my upper half all modest and covered. But. My butt, that is. All exposed to the world. I was admittedly unnerved. In ballet class you spend substantial time to keep that popo in a plum line, with your tail-bone pointed down. Which suits me just fine, I´ve never been one to flaunt my derrière. Not that anyone in class was looking or could have cared any less.

I decided to go for it. Present myself. It´s a bit like jumping off from a high spot into deep water. Either you dive in or you butt out. And I gotta tell you.. Although I was acutely aware of my every little line and curve, it was not so bad. In fact, it made me work harder. Dance better. This time, less was like totally more. But(t) enough is enough. By the time we were doing our pirouette exercises across the floor, I was mentally exhausted and changed back into my trusted romper. Baby steps, darlings. Baby steps..

Photo above post: Lana Jones of Australian Ballet. Photographer: Justin Smith.

You Will Never See Me In Pink Tights, but..

I just got my first ever real-deal ballerina ballet skirt in the mail! And it´s a barely a whisper of a skirt - seriously, I don´t think I own any garment with less fabric and weight. Even my bikini takes up more space. But I´ve been wanting to get myself a real ballet skirt for some time, it´s just that I´m shy! Shy of exposing too much thigh - and of losing my "class cred". Funny thing how so little fabric can weigh so much after all.

When I started ballet, way back in the day, the class fashion de rigeur was as laid back as possible. My dance studio was popular with the jazz and modern dance crowd, and those with more ballet background had long since ditched their class-coded dance gear. Layers and crocheted scarfs around hips, even thermal wear. But hardly a pink tight or black skirt in sight. Wearing a ballet-school style uniform would have implied actual ballet-school cred, and the skills to accompany such. Even those who had the talent, wore anything but. Occasional visting pros included.

But wearing clothes that are decidedly anti-ballet? Much better! After some trial and error, I went with the mod crowd, to blend in as inconspicuously as possible. I wore sweats to class, loose clothes, never mind not seeing your lines properly. At some point though, I advanced and slimmed down (a lot), and gained enough confidence to wear an unitard (in lovely melange mauve) I had purchased in Paris. Oh, those heady fashionista days!

Five years ago - in fact exactly to this date - I returned to ballet, after a three year long hiatus. I wore black yoga-style pants and a loose, tunicy black top. I had gained way too much weight during those years of not-dancing, and could not quite reconcile myself with the voluptuous woman in the mirror. I also noticed that the class fashion had changed since. Here were grown-up women dressed in leos and pink and white (and black) tights. Some wore jazz pants with a bit of flare, but you could see the full ballet-school regalia on some, even in a beginner´s class. Not for me though, not with 15 kilos over my pre-break ideal weight! I would have felt way too self-conscious.

Now, time flies when you´re dancing. Weight rolls off, literally. From baggy black sweats I proceded to knee-length cut-offs, from there to black leggings with loose and long tops, from there to ditching tops and supportive sports-bras (yeah, figures that your boobs grow smaller way before your thighs follow suit) in favor of thinly strapped leos and black leggings. That´s when I discovered my first skirt, a black, salsa-style short beachy skirt from H&M, made out of 100% viscose fabric. It has a kind of ruched waist-band, which you can pull higher up or lower down. There is a bit too much fabric which adds bulk at the waist, and if you pull it down to your hips, it´s a tad too tight. It looks like a dance-y skirt, but it´s not yet the ballet look I had been secretely longing for..

Bloch Professional skirt, model: not me!

When I got home last night and unwrapped my flimsy new skirt, I swear I felt like the girl who pulls on her first tutu. Excited, and in my case, unnerved too. To wear or not to wear? And how does one tie those skirts anyway? It´s a wrap-around, so why are there no loops for the strings? And how do they not slip around? Do you tie at the side, or at the back? Once I figured it out - tie at the back, have it sit at the hip - it did not look too bad! More thigh exposed, yes, but my legs actually look longer because of it - which is always a bonus for the vertically challenged! So, the class-test is next Friday, right after barre. Can´t decide yet whether I´m gonna be totally blasé about it.."What, this old thing? Why, I´ve had it forever, just found it in the back of closet Siberia." Or, if I´m gonna parade it around and ask my friend to take pictures!

Next up: tutus.  Nope, that´s where I definitely draw the line. Like totally. Unless..

Princess Diary, Part 1.

It was towards the end of our pointe class. We stood in center, our teacher smiled and gave us The Talk about repertory and dancing variations. On pointe. The been-there-done-that-crowd did not flinch, but my heart stopped. I knew this was coming, there had been hints, but my teacher had spoken of later next year. Not of the here and now! I half figured that because of our mixed-level class she was talking to the advanced girls who were probably itching to do more than echappés and piqués in center. But no, there was no sorting into groups, no directions for me (or anyone else) to sit in the corner and observe. My teacher pressed play, said something about Sleeping Beauty and took the beginning pose of B-plus, arms crossed delicately in front. My barely recovered heart sank, further down still.

I felt like I had taken an odd turn, missed the sign "Mom of Aurora" and entered the wrong casting. Because no way is this adult dancer a bluebird-wooing, sprightly, pretty, petite, ballet-y princess. You want to scare me away? Flaunt a tutu into my face and I´ll jeté into the opposite direction. Of course, our teacher did not throw the entire variation before us, just the beginning piqués and grand ronde jambes and bourrés. So, really nothing we haven´t done before, except for the piqués followed by the sweeping leg to the side (well, it was new to me anyway). And those arms. I have never felt such a strong urge to call it quits. And quit I did, right there and then.

I could put part of the blame on my big toe, which was crying for release and ice (too much pressure and not enough padding underneath), but that would not even be half of the truth. The ugly truth, Dear Reader,  is that I fear repertory. I fear looking like I´ve come without an invite, crashed the party, trespassed from my seat in the audience right onto the stage. When that Bluebird music started to play, I could not get the image of a real ballerina out of my head - and me making mockery of her!

Deep down I know my logic is lacking, as really all of our exercises and enchaînements are bits and pieces of variations or preparations thereof. I have even been on stage before, in our spring shows, dancing to the music of Swan Lake and Coppelia. But back then I was part of the "corps de ballet", with my feet safely ensconed in soft slippers, not precariously footed on pointe. This repertory business however, is new and alien territory to me.

The thing is, and this might seem curious to some, I was not lured into ballet by the sight of the ballerina-in-the-music-box. As a twelve year old I thought Giselle in her floating tulle lovely, but the princess in a tutu held no appeal to me at all. In fact it took me years to appreciate her iconic status and not regard the hopping on pointe with the bopping tutu as silly. What drew me to ballet instead was (and still is) the architectural line of the arabesque, the flight of grand jetés, the music drawn into movement.

I never imagined me dancing any roles or characters and certainly nothing remotely princess-y. I figured that kind of dancing to be the exclusive domain of the "good girls" (as one of my former teachers liked to call them - compared to the adult rest of us). You know, the ballerinas in training, and those who have danced since they have walked. Dancers with ballet-class cred, the "look" and that enviable trait of je-ne-sais-quoi.. Whereby you take one pose and are instantly transformed into something out of this world, out of my world.

The Sleeping Beauty
Stephanie Williams of Australian Ballet.
Photo: Liz Ham.

Real life and fairy tales, ballet class and repertory.. I do realise that not all of ballet is princess-y. Just as I understand that portraying a majestic countenance on stage is an essential part of it all. Something to do with Catherine de Medici and that Sunny King of France. Ballet was first the spectacle of royalty, and the unwed virgin Princess among their heroines (funny how Disney held on to that). The tiara- and tutu-clad Princess on Pointe has long since become the iconic look of the female ballet dancer. And here lies my whopper of insecurity: princesses and tutus and me - we are no match made for the stage. There are, admittedly, body- and self-image issues involved.

Grown-ups who dance ballet for the joy, do not have to look the part. Professional dancers do. We may come in all sizes and shapes, but all we need is to focus on our placement and line, on the music and the corrections we get. Yet we are drawn to the image of the ballet-body beautiful - and most of us are not so wise and mature as to never compare ourselves. And yes, in comparison I do find my instrument sadly lacking! When thoses Fairy Godmothers dealt out their favors, they threw some bounce at me and then skipped and hopped away.  Ballon, yes. Talent for ballet, no. I´m not talking about musicality or eye for movement, or intellect and perseverance. What I lack is balletic talent; physical suitability such as good turn-out and natural flexibility, and that look of long and lean legs, a small butt and slim hips. One nice left foot does not yet a ballerina make.

So, I´m short and squat, broad-shouldered, curvy and compact. So what? What I and every other sometime insecure adult-not-quite-a-ballerina needs to understand, is that it does not matter. Not as much as we like to think. In ballet you essentially aim to create an illusion - that of infinite lines and flight. You achieve this by work, not talent alone. Every able-bodied can strengthen their core, lengthen the back, stretch those knees, pointe them feet. You breathe, you elongate, you live, you love to dance. The bottom line is that the shape(liness) of your derrière does not stand in the way of the loveliness of your ligne!

The princess is just another illusion. She is created by the lines you draw onto the music, by épaulement, port de bras, a pas here, another enchaînement there. Dancing her should not be mission impossible. Granted, a grown-up ballet dancer would be an odd casting for the part of virgin bride-to-be Aurora. But it does not have to be a choice between the teenage princess and the walk-on part of mothers or queens. Though in real life.. I´d rather be the Empress residing over her court than the talent called to entertain at her daughters pre-nuptials.

As for myself, I´m still finding my voice as a dancer. Anything that goes beyond the purely technical is still fairly new to me. Only in the past year have I thought about "presenting myself" in ballet, whether it´s a forwarded ankle or an attempt at elegance. Princess Florestine? Not quite there yet. Although, after the initial shock faded and I later confided in my teacher - about my fears, insecurities and bad memories - something changed. I looked at that particular variation (and others) with a fresh perspective and new attention to detail. In our next class, our teacher broke the steps down and - lo and behold - I could actually pull it off!

Now, let me just unearth and rediscover my latent inner princess. A modern single gal wooing her Prince. Somewhere between Princess Florestine and Charlotte of Sex and the City. The tutus you do not have to bother with, but darlings - I´ll wear the tiara. Those are real diamonds, right?

Achoo!

Home alone and sniffling my time away - yes, flu season has officially begun. Being sick is boring and not nice, but being a sick dancer equals being one unhappy camper! Yesterday I still gave it all I got, and did 90 minutes of advanced ballet class and 60 minutes of pointe. I knew that Flu was hanging out around the corner, but I told It to wait until Wednesday. See, there is no ballet today and none tomorrow (no class that I would hate to miss anyway). It´s really amazing how much ballet can motivate you! Sadly, it can delay but not chase viruses away. So, rest it is. I would very much like to be in acceptable shape by Friday, and being generally of sturdy disposition, that might just be possible. With a little help of some nasal spray - because no one likes to turn chaînés déboulés with a runny nose!

In the meantime, I´m drinking loads of hot honey-water and emptying my trusted vaporub jar. Hmm.. there should be some Tiger Balm somewhere too.. Luckily, this Flu around I´m spared the light-sensitive eyes and can at least while my day away in front of of my dear little macbook. Thank you twitter, facebook and youtube! And thanks to a generous dancer friend, I also have the entire Bournonville School borrowed, that is a 2-disc DVD-set of all the classic lessons! I just finished watching the "Monday Lessons" and was pleasantly suprised to find the beginning port de bras of our Friday´s adagio in lesson nr 2! The pirouettes from grand plié fifth, and the turning positions with foot in coud-de-pieds also rang a bell, as did some steps sequences. I mean, I knew our teacher was incorporating some Bournonville into our classes, but only when she had told us. I had no idea that so many moves are straight out of Denmark. :)

Wish I could share at least one lesson here, but even if copyright were a non-issue, I don´t have the tech skills to do that. Really, how do people clip those videos on youtube? Well, it does not matter as I found this very lovely video of Bournonville´s Flower Festival in Genzano, danced by The Royal Danish Ballet itself. I happen to be quite partial to RDB - my own teacher G´s first teacher was a soloist there, and my other teacher M-P was a principal dancer at RDB until 2008. The soloist who dances in the clip below, Gudrun Bojesen, is also featured in the School DVD, so there you go. What I find so inspiring about Bournoville is the apparent effortlessness - especially since it is the hardest thing of all! Minden does list Bournonville´s Choreographic Creed in her Ballet Companion, and I find this quote particularily convincing:

"Dance, with the help of music, can raise itself to poetry but it can also sink to buffoonery through an excess of gymnastics. The so-called difficult has numerous adepts, while the apparently easy is only achieved by a chosen few." 

When I get tired of being online, or of watching videos and daytime-TV - and yes, that can happen, there are books to read. You know, actual books made out of paper and ink. Not kindles. That very nice dancer friend of mine, the same who borrowed me her Bournonville, just happens to have an amazing dance-book library! Right now I´m reading Gaynor Minden´s Ballet Companion (Book Depository), and Eric Franklin´s Conditioning for Dance. I´ve also got my own Inside Ballet Technique by Valerie Grieg, which I definetely recommend! Now, I gotta share some of Minden´s wisdom with you.. Especially as I´m working on a Balletiquette co-post with fellow blogger Bead109. Here goes:

"Always finish every combination. Even if you flub it completely, the discipline of ballet requires that you finish it, and finish it with as much poise as you can." - So very true! And never mind that it is required, because it actually makes you a better dancer. Your technique wil improve heaps if you never give up!

"Know where to stand." When you go to a new school/class, look out for fixed barre spots. "Dancers are as territorial as lions." - Hahahhaa, guilty! :D Seriously, it makes sense to rotate barre spots and center placements. But sometimes set barre places make for speedy beginnings. And for some reason it´s just comforting & familiar to have "your own place". For instance, in Madame´s class, spots just fixed themselves as the same crowd kept coming back. I will not give up mine, so back off. Thank you, darling. ;)

"Stay after class and practice any step that´s given  your trouble." - This does not relate to etiquette, but it´s good advice nonetheless. Of course this option is not a given, as often there are other classes after your own. Or you really have to rush to the bus/home/work/wherever. Or the studio is closing. But when there is opprtunity, use it! As for myself, I  have never been able to rush out of class. Even when new people are streaming in, I quickly try out some moves (then get out of the way, just as quick). When our class has been the last, I often practice until I´m kicked out. Sometimes I´m lucky and get extra help and coaching from my teacher.

Dang, I´m running out of kleenex. Glad though I got some writing done, despite my scratchy throat and runny nose. Now, excuse me if I sink back into my couch and watch Tuesday´s lessons. Nothing like the prospect of ballet class to fight the flu!

Pointe-Anniversary!

Dear Reader, it was precisely one year ago when I embarked on my very first pointe class. Before I tied those satin ribbons, I had long ago given up on pointe shoes. I figured that after 16 years of dancing in slippers and never going higher than demi (with the exception of one sorry and short-lived attempt in my twenties) - what would be the pointe? In slippers I don´t suck too much, that is I have fairly good technique for a late starter and adult recreational dancer. Of course there is no crowd lining up to see me perform, but on a good day I do well enough to get my kicks out of my jetés and some praise to boot. On bad days I still love it enough to keep coming back. What more could a girl ask for?

Happy Hour at the Barre (November 13, 2010)

But when my own teacher opened the door to pointe and invited me in - all of a sudden there was no doubt in my mind. I knew right away that no way would I deny myself this opportunity. Come hell and high water, bloody blisters and akwardness. Now, nearly 50 classes and three pairs of shoes later, I have advanced from akward to slightly less-than-akward - that is from pointe beginner to pointe basic-er. And dare I say it, I´m actually a little bit proud of myself!

1000 Minutes on Pointe (December 13, 2010)

Last Friday I went back in time, and re-started at pointe beginner level. Our school offers two classes, beginner and basic, and I take both. Classes have always been mixed; one year ago there were only two complete beginners: me and a friend of mine. This year, there are a lot more hopefuls and eager new dancers, and I hope they will find it just as exciting as I did. And still do, if not even more. Yes, more. Dancing more does not take away your hunger, it feeds it. Sure, at first exercises are difficult as hell and you think it will never amount to anything. But then your body starts to change, responding differently to your commands, becoming compliant instead of defiant.

In Memoriam: My First Pointe Shoes (February 10, 2011)

When I decided to make the jump out of the comfort of my slippers, I knew big challenges lay ahead. Having walked in uncomfortable shoes before (like most women I know), I figured that pointes would be no Birkenstocks. I had done some exercises like echappés and bourrés on demi, and done my research beforehand. I knew that getting over the box is a big deal, and that you would need to pull up and not sit in your shoes. Yeah, pointe technique turned out to be as difficult as I had expected. And then some. I could not get over my box. Pulling up on one foot, with a stretched knee and strong core - no easy feat. When Madame told us to be elegant, I was going for comedic. Pirouettes on pointe? Scary as hell. 

Potential (April 30, 2011)

That´s the thing - when your´re a grown-up ballet dancer, you know all that can go wrong. Instead of doing the pre-teen thing and being fearless and eager, you fear falling over. But I consider myself lucky. For one, I have had the best teachers you could ask for - they pushed me out of my comfort zone, but never let me pointe alone. They have been meticulous about proper alignment and technique, and encouraging when I had the hardest time suspending my disbelief!

Cheers!  (June 3, 2011)

Since that first class and Pointe Zero, I have improved and learned a lot. My feet are arching over the boxes, single leg relevés have become less daunting and I have just embarked on my first balanced pirouettes (singles still). But you know what the best part is? Despite all my research, the blisters and the achy feet and the killer-slow roll-up relevés, and the burn - I had not figured I would love it as much! It´s a whole new world out there, waiting to be conquered. One plié, piqué and pointed foot at a time..

Back to School!

It´s that time of the year again.. The Finnish summer drawing to its close, days getting shorter, mornings colder, sun-sets more spectacular. The Rowan trees lining my street are heavy with orange berries, and that August moon looms large above the sky. Fall beckons. It is time for harvests as much as it is for new beginnings. Schools all over Finland start next Monday. Our dance studio introduces its fall/winter semester. How much fun is it to go back to school and actually look forward to it?

My kind of class-room. Dance-center Footlight.

Of course I never left (dance school that is). Those of you who read my summer posts know that I´ve been on a Summer Dancathon from beginning of July until now. I got back into the habit of daily ballet class (excluding weekends), which is awesome. So, if there have been no breaks for me, why am joining the back-to-school chorus? For one, the dance schedule is all new. But more importantly, my favorite regular teachers are back. It´s been seven weeks since I had class with G, and over 3 months since M-P´s last ballet class. I absolutely love their teaching, so you can imagine how much I´m looking forward to a new semester!

Do you remember what it was like going back to school (not dance-) after those long summers? The excitement of seeing your friends again, who appeared at once familiar yet different? You all had grown, experienced new things, and changed in the process.. I feel a bit like that right now. Except for that growth spurt which I´m still waiting for. Seriously, something is different. You know how five classes a week can do wonders for the body and technique? Well, it´s true. Although, my pirouttes have made only rare appearances. For that I still blame my teacher G, who told Summer Sub that I had advanced to triple turns the past year. I guess she was a little proud, but my Pirouette Fairy took it as a cue to take off on holiday, laughing all the way to the beach, mojito in hand.. Silvia, our Summer Sub, never saw a single triple. Singles, yes, and shoddy doubles, but no triple pirouettes. Sorry, signora G!

That´s our fabulous teacher M-P!

Pirouettes aside, I think I learned a lot this summer. I have grown more confident in my use of épaulemant, and in the phrasing of movement to music. In class, there has been more focus on performing, on dancing before an (imaginary) audience, and on interpreting the mood of the music, not just counting the beats. I have learned to relax more. We tend to get caught up in technique, often tensing up instead of dancing with the optimum amount of effort. Dancing 100% all the time is actually counter-productive! I have also learned to be more conscious of my transitions - to be fluid in movement, not superfluous.

My "own barre-spot" is in the corner, next to the speaker.

I had a great time learning & dancing with our Summer Sub, and I´m really going to miss her teaching. But I´m also eager to apply my new and improved skill to our regular classes! I wonder if my "own" teachers will notice anything.. So, beginning next week I have three advanced and two pointe classes lined up. One of those pointe classes is actually marked as basic (last year was beginner), but with our teacher M-P, basic is more closer to intermediate. I just hope she goes easy on us for the first classes! I´m still gathering courage to even try out those pirouettes en dedans! Rising onto one foot while turning at the same time - scary! But piqué pirouettes - so much fun! It´s a good thing that there is balance between the two. I seem to remember it was a bit like that in school too, fun and sometime scary.

Now, let´s see.. My hair is freshly cut, favorite leo washed, new pointe shoes broken in, still need to sew elastics on flats, read that "Inside Ballet Technique" book and call it an early night come Sunday. I am ready - back to school it is!

Putting theory into practice.

The Bar/re

Ever been to an informal get-together of dancers and seen anyone sitting on chairs, fixed at their table placing, for the entire time? Nope, didn't think so. Dancers tend to migrate to the floor, always stretching and limbering up their bodies. And if we're not limbering up our bodies, we are dancing. Relevés while getting the plates out of the cupboard, penché arabesques when picking up something from the floor. Heck, pirouettes whenever there's enough space. I've done mine in the kitchen..

In the company of fellow dancers, nobody thinks anything of it. It is perfectly acceptable and normal behavior. Seriously, it's hardly a wonder that the body stays in dancer-mode 24/7. That is what practice is all about, to make the physics of dance an integral part of your system. Once you have converted your body to ballet, it seeks every opportunity to move in its now natural state! A dancer is a dancer, outside of class and out of leos and tights, and even between dances. As for myself, I'm no pro, far from it, but I cannot help but feel my ballet body take over!

Sadly, out of class there are not that many opportunities. No piqué turns in office corridors, no checking out lines in every mirror, no grand jetés in the park, no waltzing to the bus-stop. Ballet is life, but life is not a ballet. Or is it? Last Thursday, after another fun & challenging ballet class, my ballet sis spontaneously suggested that we head for a post-ballet drink. Despite it being a work-night, I could refuse neither the good company nor the chilled bubbly. It was a lovely evening, warm enough to sit outside and relax into girl-talk and ballet-chat. Perfect, except for the sitting-in-place. Because when we got up to leave, we were both all stiff and sore. Pretty sure this is not the norm with non-dancers..?

Someone fixed that barre all wrong!

Must have been the bubbly (Spanish cava), but it got me into thinking about a bar for dancers only. You know of après-ski, the hot chocolate and sitting by the fire, relaxing? I would like to propose a similar space where tired dancers can spread out on a cushioned floor, stretching with refreshing drinks in hand. Protein-enriched banana smoothies or sparkly bubbly, whatever works for you. And as for the actual bar, remember the railing where you can put your feet? Lift the whole thing up, and presto: you have the barre at the bar. Mirrors optional.

But why stop there? Lets add a jacuzzi and sauna, plus epsom-salt foot-baths and free massages! Come to think of it, and leaving the bar out of it (just for a second) - why are dance studios not more like fancy gyms? Dance classes cost more, spaces are essentially the same (except for the dance-flooring), and showers are there already. Yet in Finland, where saunas are everywhere, not a single dance-studio has one. Except for the National Opera House. They heat their sauna every day. Lucky dancers, but I think they deserve it.

But back to The Bar/re. It's a funny and fitting coincidence, that our building used to host one of the more popular (and later, infamous) night clubs in Helsinki. Many, many years ago I stood at that bar, drink in hand, two floors under our current barre-filled studio space. That club is long since gone, but others have come since. One time last spring we left after our evening Friday class, just in time for the opening of an new club. The red carpet had been rolled out, rose petals were strewn and hunky doormen were giving us way. After our reverance to Swan Lake´s music, it only seemed appropriate. Darlings, I'll have champagne with that..