Weekly Ballet Post, 9/21/17

Nothing teaches you the existence of muscles that you didn’t know existed like a nice slow dégagé to the side … except maybe ronde de jambe en l’air. It kind of feels like gravity is wrenching your hip out of its socket.

Other discovery: one major reason that turning is hard is because no matter how good your spotting is, your damn body has to support the spot. If your body can’t maintain a vertical line and keep your eyes at the same level in all three axes, you’re sunk. This discovery brought to you by trying to do chainé turns quickly, which required going on demipointe, which I was not terribly stable on.

And in the annals of “skills I have but did not find them as helpful as I had hoped,” an interesting divide was visible in this week’s class. The teacher doesn’t always follow the musical pattern during combinations, which drives me batty. Why are you doing four count combinations on music with 3/4 time? Unless you are combining three beats into one. Anyway, at one point she said to do eight jumps, but the music was in 6/8, so a couple of us just … kept going … because the measure wasn’t over! (And sometimes the teacher totally goes off the beat, and then I just can’t follow at all, because the movements and the music don’t mesh in my head, and it all gets tossed out of short term memory.)

The other bit where classical piano training made dance hard for me at first is that in ballet, steps are often syncopated. Hence the joke that “and” is a number. At first I was really annoyed by this and thought it was irrational, then realized I was the irrational one. This happens because these movements are usually in two parts: you do the step, then you pull back into the starting position. So if you are doing four tendus in a 4/4 measure, you should extend on 0.5, then close on 1. So that you can extend on 1.5, and be closed again on 2. Etc., with the goal of finishing on the last beat. And if you are doing the steps slower, then you are effectively working in 2/4, and you’re still moving on the off-beat. It was a revelation. (I suppose those who did marching band would have understood immediately!)

Unbelievably, however, the best skill I brought to ballet was something I learned from doing junior high musicals. Now I was too terrible to get a real part—four failed tryouts ha ha ha are testament to this fact—but the chorus line (essentially) was come one come all. The pas de bourrée (youtube link)—a really common step in Broadway-ish dancing—was drilled into our skulls and feet. So thanks, Mrs. Hoffenberg. You might have taught me the most out of anyone else in that school, in the end. (Teach the arts in public school! /soapbox)

Speaking of classes, I have now used up the 10-lesson card that I purchased at my current studio. I love my teacher but it is a long drive (now that I’ve moved) and conflicts with another need for the car this school semester. There’s a studio closer to me that I can bike to and gives beginner class on the same night. Am contemplating trying it out next week, although it makes me sad. We shall see. Worst case, I can go back in January.

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