Weekly Ballet Post, 10/12/17

Went back to Hardcore Studio this week, after a week off. During the week I tried to work a bit at home, practicing various basics: brushing with the tendu, not letting the knee fall during a developpé, passés up and down (4x flat, 4x in relevé), and 24 daily elevés on each leg. Not sure which of those was the hardest …

But the best prep I actually did was a lot of practicing how to turn at the barre. Most combinations are done first on the right or left, and then switch to the other side. If you are at the barre, this generally means you need to turn 180 degrees so that you can switch hands (and feet). This is not done casually. No. It is accomplished by some variation on:

1) Rise into sous sus
2) Turn 180 degrees on the working leg (defined as the leg away from the barre) towards the barre
3) Come back down on working leg while simultaneously placing the other leg in front of working leg; now it is the new working leg

I’m not sure if that made sense in writing. It certainly did not in speaking, which is why I spent so much time staring at YouTube and tied my ankles into knots at home trying to practice.

The other hard bit about this turn is you don’t want to start either too close or too far from the barre; otherwise once you finish the turn you will either end up squeezed into the barre or so far away that your arm can’t reach. So you have to place the working foot correctly at the start. Here’s where it came in handy to learn that in sous sus, 1) the toes of both feet are supposed to be aligned (this is a very popular pose for pointe photos, especially from the side) 2) when you rise into sous sus from fifth or whatever, you don’t shift both feet towards the middle; you pull the working foot to line up with the standing foot. Consequently your working leg will be at the same distance from the barre as your standing leg, thus ensuring that once you’ve turned around, you will remain at your ideal distance (assuming that you were at a good distance before the sous sus). Clever, that one. Anyway, this sounds like a very small matter, but I assure you that with the amount of turning there was in class, I felt much less awkward compared to last time when I had zero idea what to do. It also helped with other small turns; having the muscle memory to pivot and close in fifth without thinking too hard is very handy. Unfortunately this bit me somewhat when we did a combination with a passe relevé closing in the back. I think out of eight times, I closed in the front seven times.

Now back to staring at videos trying to learn assemblé, which was whipped out last night and I had never heard of it before. I was able to stay late and get some tips but for sheer patience, nothing beats YouTube for a teacher.

I still have no idea what a “perris” lilac is

So my leo collection is nowhere near epic, but I have definitely expanded from the single black short sleeve Capezio leo that I’d started out with.

In particular, I have (with some embarrassment but obviously not enough to stop me) longed after the leo/skirt outfit worn by certain years/classes of Vaganova swans-in-training. It took me a stupidly long time and much failed googling before realizing they were probably wearing Grishko, which is the Russian ballet brand. Well, Grishko dancewear is not easily if at all available in the states (although their pointe shoes appear to be readily available). P.S. you can find some creepy yet hilariously awful photoshopping if you trudge through their English website in desperation like I did.

An aside: this obsession set in just before Worldcon, so I had the genius thought “Finland is close to Russia, maybe in Helsinki …” and so I spent my first sleep-deprived day pounding some pavement at dancewear stores instead of, you know, going to the con. Anyway it was a bust. I should’ve gone to some panels …

But I was undeterred! And after weeks of googling for various combinations of “cornflower” “periwinkle” “[insert other blue-purple shades here]” “leotard” and “skirt” I hit lookalike paydirt. I am now the proud owner of a Dansko leotard in perris lilac and a Mirella skirt in periwinkle.

Having obtained my objective, the real question is, how shameless do I have to be to go to class dressed like that?! Answer: I have less ballet budget then shame, so I’m not letting these acquisitions go to waste. Do svidanya, see you in the studio.

(Where was the class post last week? Out sick, like myself. Hopefully I will be able to attend a class tomorrow night.)