This was the last class of my 10-class punch card. The 10-class punch card that somehow, magically, actually gave me 12 classes. I love it when other people's record-keeping is as creative as mine. Sometimes, I benefit. In this case, I did. When I first started, the idea of doing 10 of these classes (say nothing of 12!) felt like a fantasy. Now, it's routine. I've done one class a week for 12 weeks, and I couldn't imagine a week without ballet (or Bill-et, if that's in the cards). Of course, completing this cycle makes me feel like I should pause and reflect. Here's a list of things I learned over the past 12 weeks:
1. Bodies bend. This is true in many ways. Minds bend. Genders bend. Limbs bend (though, hopefully in the medically-advisable direction). Ballet instructed me to get even more comfortable with this. It begged the question: "What are you bending toward?" I'm at a place, now, where I'm enjoying sitting with that question. I can't answer it yet.
2. Move impulsively. One of the things I struggled to understand before ballet is how music could inspire spontaneous movement. I know plenty of people who, as if by rote, activate a dance response when certain songs come on. I was always too afraid to do that. My fear led me to lose sight of why anyone would even want to dance automatically. Suddenly, the myth that "dancing is stupid" was more comforting than the reality that "I am afraid to dance." Now, though, I totally get it. I even count myself among the spontaneous movers! It feels good to surrender to music, especially when so much of my life is mired in fairly obsessive (though, in its own way, fun) thought.
3. Bodies befriend. If ballet opened me up, it opened me up to others. I wonder if anyone truly dances in a silo. Being "bad" (or, more kindly, "new") at dance led me to others who were in the same spot. That commonality, plus the fact that we were fighting through the obstacles laid down by our cursory knowledge, gave us enough on which to build meaningful friendships.
4. Run with your gender(s). Whatever it is or they are, run with it. Run like a __________ (_______, and ________) and don't let anyone tell you you can't. If you don't know what that run looks like, invent it. That run is a dance in and of itself, and it is enough for beauty.
5. Be terrible. It's not bad to be terrible. If you're terrible for long enough, you'll find there are things in there that you're getting less terrible at. Celebrate those things. Do you have the entire stretch routine memorized? Cool! Because you didn't before. Gender-wise, did your outfit give you dysphoria today? That's painful, but it doesn't mean you failed at being you. It just means you found something out, and you can use that tomorrow (or today on your massive Buffalo Exchange binge - see you there!).
6. There are a million ways to dance. Find yours.
Next week, I'll return to ballet. I'll buy another 10 class punch card. I don't know that I'll continue blogging about each lesson, but I might update this sporadically with related musings that are taking up my brainspace. Perhaps that's the best sign of a successful experiment: the desire to make the experimental action just another facet of my being. Ballet, welcome to my world. Try not to trip on all the Star Trek.
Friday, March 29, 2019
Thursday, March 21, 2019
Lesson #11
Why do we keep returning for more pain? Like, what drives us to do this? It feels like something out of a Nathan W. Pyle androgynous alien comic: "That caused me to hurt severely." "Will you return?" "Of course. Tomorrow." To know this feeling is to truly know Bill and his unique brand of dance, Bill-et. In all honesty, though, I was feeling off all day yesterday. I don't know why. Just one of those days. In the morning, my bus had the heat blasting right on top of my seat, which made me feel gross all day. When I walked into ballet, I pretty much had "This is going to suck" written on my face. But me and my Transformers T-shirt made it through. Thanks, Bumblebee.
It did suck, though. I mean, I sucked. You pretty much have to if you're doing Bill-et. It's rule number two. Rule number one is never talk about Bill-et, but I figured that, since I'm failing Rule Two, why not break #1 while I'm at it. My friend Mary was there. It was her first Bill-et, but she had heard talk of what was to come. She has much more ability than I do, having done ballet in spurts throughout her life. The return, now, she says, feels like coming home. I love that.
I'm not going to focus too much on the actual dancing, here. It was basically the same as Bill's last class. I'd like, instead, to focus on something new that I thought about while dancing. This time, I noticed I often led and/or landed on the wrong leg. I always received clear direction to "start left" or "close right," but for some reason I always ended up doing the opposite. This has been a life-long struggle for me, telling my left from my right. You'd think it'd be easy. There are only two options. But I usually tend to think, say, and go with the wrong one. I've read dyslexics have this problem. I don't know if that's why I have it, too, but it did get me thinking about neurodiversity in dance.
People learn differently. I know this from my line of work. There are myriad reasons for this. All learning types are valid. How, then, does dance look through the bodies of such learning-diverse individuals? How must it fundamentally change for the dyslexic brain? The ADD or ADHD brain? The Autistic brain? How is dance taught to people of these and other similarly-situated demographics? I don't have the experience to even speculate, but I know there are dance teachers exploring these questions, especially in young children.
That being said, I would love to see more ballet explicitly performed through bodies run by diverse neurologies. In fact, I'd love to see that in stories told through various media. Instead of penalizing those who interpret their instructions differently, let's elevate them. I'm not saying let me off the hook for leading with my left instead of my right. (I actually, personally, want to get better, through practice, at "correcting," especially as a beginner.) I'm saying lets pedagogically instill in dancers and other performers alike that dancing is de facto interpretive. Though choreography is followed, that choreography will look different beamed through different bodies and different minds. It has to. We aren't clones. We aren't robots. So let's mine our individuality for all of the artistic diversity it can contribute.
It did suck, though. I mean, I sucked. You pretty much have to if you're doing Bill-et. It's rule number two. Rule number one is never talk about Bill-et, but I figured that, since I'm failing Rule Two, why not break #1 while I'm at it. My friend Mary was there. It was her first Bill-et, but she had heard talk of what was to come. She has much more ability than I do, having done ballet in spurts throughout her life. The return, now, she says, feels like coming home. I love that.
I'm not going to focus too much on the actual dancing, here. It was basically the same as Bill's last class. I'd like, instead, to focus on something new that I thought about while dancing. This time, I noticed I often led and/or landed on the wrong leg. I always received clear direction to "start left" or "close right," but for some reason I always ended up doing the opposite. This has been a life-long struggle for me, telling my left from my right. You'd think it'd be easy. There are only two options. But I usually tend to think, say, and go with the wrong one. I've read dyslexics have this problem. I don't know if that's why I have it, too, but it did get me thinking about neurodiversity in dance.
People learn differently. I know this from my line of work. There are myriad reasons for this. All learning types are valid. How, then, does dance look through the bodies of such learning-diverse individuals? How must it fundamentally change for the dyslexic brain? The ADD or ADHD brain? The Autistic brain? How is dance taught to people of these and other similarly-situated demographics? I don't have the experience to even speculate, but I know there are dance teachers exploring these questions, especially in young children.
That being said, I would love to see more ballet explicitly performed through bodies run by diverse neurologies. In fact, I'd love to see that in stories told through various media. Instead of penalizing those who interpret their instructions differently, let's elevate them. I'm not saying let me off the hook for leading with my left instead of my right. (I actually, personally, want to get better, through practice, at "correcting," especially as a beginner.) I'm saying lets pedagogically instill in dancers and other performers alike that dancing is de facto interpretive. Though choreography is followed, that choreography will look different beamed through different bodies and different minds. It has to. We aren't clones. We aren't robots. So let's mine our individuality for all of the artistic diversity it can contribute.
Tuesday, March 19, 2019
Lesson #10.5
Last Friday, I saw something remarkable. Something life-changing. My ballet teachers are all in the dance company at the school I go to. They performed in a show, with the rest of the company, that included three short pieces, "Scramble" (Cunningham), "The Elements of Style" (Nash), and "The Seasons" (Alston, with music by John Cage). Since I can't get these pieces out of my head, I figured I should write about them. I'd call this a review, but there's really nothing that qualifies me to "review" any ballet. But that doesn't stop The New York Times, so let's call it a review!
I had underestimated the importance of watching ballet regularly when I started taking classes. It should have been obvious. The reading and theatregoing I do is so essential to the plays I write. Being an observer is essential to being a doer.
"Scramble," the first piece up, was choreographed by Merce Cunningham, a man whose work is currently in the midst of a global retrospective. Can you imagine being so good at something that the entire world, collectively and simultaneously, decides, yeah, let's do this? From "Scramble," I can see why. The movements begin simple, contemplative, almost intentionally unstable. As the dance advances, it evolves in complexity, but still retains enough ambiguity to tease out audience engagement. For me, I liked how the quieter moments of the piece invited me to project my own internal thoughts, feelings, and struggles onto the stage. Art is, after all, the swirling of two projections: what you're projecting onto it, and what it's projecting onto you. This intermingling meant that, though my interpretation of "plot" was surely different than the person next to me, it was just as valid because it was built on a solid foundation of both textual reference and reasonable personal inference. I cannot help but wonder if, for at least some of dance, the spectrum of such interpretation isn't greater than it is for the written word, where it's easy for me to feel confined to the page, unless I'm reading Gertrude Stein, of whom I am a huge fan. In fact, now that I think about it, Stein's liberation of words from the page feels almost "ballet-ic" in nature. Words, for Stein, tend to dance, but intentionally so. "Scramble" strikes me similarly.
The evening also featured two musical interludes by people who seem to just be able to pick up the nearest instrument (in this case a cello and a piano) and just go to town. I found that when I closed my eyes, their music instantly started to draw a landscape. I see people close their eyes when they listen to music. I've tried doing this in the past, but it's rare I truly start to see anything vivid. For some, I assume this comes more naturally. Maybe it speaks to my mental state when I sat down for this performance, but I truly enjoyed the effect.
But the real crux of the evening, for me, was "The Elements of Style." This is what was life-changing. Here, Matthew Nash took an otherwise dry, grammatical guidebook and electrified it through interpretation and extrapolation. Rules that are otherwise instructional became playful. And why shouldn't that occur? The English rules for possession become exciting when we open up the word "possession" to all of its other meanings. As per the dance, an announcer reads the rule for the apostrophe "S," and then we hear his example: "Charles' friend." Two dancers, during this, enact, briefly, the plot of Charles having a rendezvous with a lover, who, facetiously, yes, is his "friend." By overlaying this meaning of "friend" and "possession" atop the traditional grammatical and syntactical definitions of both, as per Strunk & White, we're invited to bust the text wide open and consider it as a guidebook not simply for grammar, but for life. This makes me consider what other books are hiding. What purely functional works could make for amazing and meaningful ballet? Let's make dances based on Ikea instructions. Better yet, let's take Judith Butler's incredibly deep but often dense writing and juxtapose it with gender in action via ballet. Nash's "The Elements of Style" practically begs us to do this, to play with the traditional. And, if anyone instructs me to play, well, I'm more than happy to abide.
Alston's "The Seasons" asks us to do something similar, except instead of using a written text, he uses the natural "text" of seasonal progressions. This dance was cast in such a way that it seemed to be saying something meaningful about male interaction. The male or masculine dancers all had moments of interaction that situated the female or feminine touch within the context of male/masc movement. I felt like I was watching a grander version of what I experienced in class with "running feminine" (see Lesson 10 for more on that). Here, two or three male/masc dancers were involved in combining traditionally gendered movement in unexpected ways. To be clear, though: I'm speaking about this via how it felt. I don't know enough about dance to actually say if the movements they were performing are truly traditionally gendered feminine, like the running in Lesson 10.
All told, the evening was cathartic. I had always known, through working with amazing choreographers on plays of mine, that dance had this power. Now, I'm able to unlock some of it on the technical side. That only deepens its importance. It's like Richard Feynman and the flower. Feynman said that an understanding of the science of a flower only helps one appreciate its art. The same, evidently, goes for dance.
I had underestimated the importance of watching ballet regularly when I started taking classes. It should have been obvious. The reading and theatregoing I do is so essential to the plays I write. Being an observer is essential to being a doer.
"Scramble," the first piece up, was choreographed by Merce Cunningham, a man whose work is currently in the midst of a global retrospective. Can you imagine being so good at something that the entire world, collectively and simultaneously, decides, yeah, let's do this? From "Scramble," I can see why. The movements begin simple, contemplative, almost intentionally unstable. As the dance advances, it evolves in complexity, but still retains enough ambiguity to tease out audience engagement. For me, I liked how the quieter moments of the piece invited me to project my own internal thoughts, feelings, and struggles onto the stage. Art is, after all, the swirling of two projections: what you're projecting onto it, and what it's projecting onto you. This intermingling meant that, though my interpretation of "plot" was surely different than the person next to me, it was just as valid because it was built on a solid foundation of both textual reference and reasonable personal inference. I cannot help but wonder if, for at least some of dance, the spectrum of such interpretation isn't greater than it is for the written word, where it's easy for me to feel confined to the page, unless I'm reading Gertrude Stein, of whom I am a huge fan. In fact, now that I think about it, Stein's liberation of words from the page feels almost "ballet-ic" in nature. Words, for Stein, tend to dance, but intentionally so. "Scramble" strikes me similarly.
The evening also featured two musical interludes by people who seem to just be able to pick up the nearest instrument (in this case a cello and a piano) and just go to town. I found that when I closed my eyes, their music instantly started to draw a landscape. I see people close their eyes when they listen to music. I've tried doing this in the past, but it's rare I truly start to see anything vivid. For some, I assume this comes more naturally. Maybe it speaks to my mental state when I sat down for this performance, but I truly enjoyed the effect.
But the real crux of the evening, for me, was "The Elements of Style." This is what was life-changing. Here, Matthew Nash took an otherwise dry, grammatical guidebook and electrified it through interpretation and extrapolation. Rules that are otherwise instructional became playful. And why shouldn't that occur? The English rules for possession become exciting when we open up the word "possession" to all of its other meanings. As per the dance, an announcer reads the rule for the apostrophe "S," and then we hear his example: "Charles' friend." Two dancers, during this, enact, briefly, the plot of Charles having a rendezvous with a lover, who, facetiously, yes, is his "friend." By overlaying this meaning of "friend" and "possession" atop the traditional grammatical and syntactical definitions of both, as per Strunk & White, we're invited to bust the text wide open and consider it as a guidebook not simply for grammar, but for life. This makes me consider what other books are hiding. What purely functional works could make for amazing and meaningful ballet? Let's make dances based on Ikea instructions. Better yet, let's take Judith Butler's incredibly deep but often dense writing and juxtapose it with gender in action via ballet. Nash's "The Elements of Style" practically begs us to do this, to play with the traditional. And, if anyone instructs me to play, well, I'm more than happy to abide.
Alston's "The Seasons" asks us to do something similar, except instead of using a written text, he uses the natural "text" of seasonal progressions. This dance was cast in such a way that it seemed to be saying something meaningful about male interaction. The male or masculine dancers all had moments of interaction that situated the female or feminine touch within the context of male/masc movement. I felt like I was watching a grander version of what I experienced in class with "running feminine" (see Lesson 10 for more on that). Here, two or three male/masc dancers were involved in combining traditionally gendered movement in unexpected ways. To be clear, though: I'm speaking about this via how it felt. I don't know enough about dance to actually say if the movements they were performing are truly traditionally gendered feminine, like the running in Lesson 10.
All told, the evening was cathartic. I had always known, through working with amazing choreographers on plays of mine, that dance had this power. Now, I'm able to unlock some of it on the technical side. That only deepens its importance. It's like Richard Feynman and the flower. Feynman said that an understanding of the science of a flower only helps one appreciate its art. The same, evidently, goes for dance.
Thursday, March 14, 2019
Lesson #10
Okay. Okay, y'all. I can finally feel my legs again. That. That was hard. Whenever you get a substitute ballet teacher who starts off with, "Yeah, the stretches, I don't really do them, so if one of you could lead that part, that'd be great," you are in for pain. Don't get me wrong, this teacher was incredibly supportive, genuinely kind, and warmly attentive. I am so happy I got to work with this person, whose name is Bill, which I identify only so I can say that I did Bill-et instead of ballet. Ballet is something I'm kind of getting the hang of. Bill-et is something...different. Bill-et is swooping motions and hand-eye stuff and lots and lots of plieing. Bill-et is not for the weak. Not for the faint of heart. This is why they had us fill out that emergency contact form. It was because of Bill. I know that now. Bill is an amazing dancer. Bill is a seasoned professional. Bill is a joy to learn from and to watch. But Bill was also in Amadeus. So Bill knows more than you.
Thankfully, my old newbie friend Tom was there with me during this class, so we could at least find some company for our terrifying, 'Nam-esque misery. The work was hard, but Bill taught me that, if you've got someone encouraging you along the way, the work can be hard. You'll get through it. Sometimes, I see students of mine shrink in the shadow of hard work. They take it, sometimes, as a sign that it wasn't meant for them. That God doesn't want this for them. I don't know, but I don't think God works that way. I think God actually has no real sense of what human "hard work" is. All this sh*t we do down here has to be easy to God, right? I think what God probably really cares about is whether or not people can use difficulty as a point to come together, to empathize. I truly don't think God cares what the task is. I think God cares about reactions to tasks great or small. Obviously, I'm using "God," here, but I don't mean that to exclude my Atheist and/or Agnostic friends. I mean to suggest that, if there is anything at all greater than us controlling our paths even slightly, I just can't accept that that Anything would say to us, "Yeah...trigonometry is hard. I mean, you clearly had a passion for it, but the fact that you suck was just my way of saying, 'Hey, maybe don't aim so high.'" The Anything is at least partly responsible for trigonometry, so the idea of it being "hard" would surely be abstract to its (even partial) creator. But, since we have free will, our interactions could potentially surprise the Anything in ways trigonometry can't. When I'm falling all over myself, and a gruff, seasoned Bill-et instructor comes over and reaches out with empathy, I think that surprises the Anything, especially since we've demonstrated so many negative responses in our brief time here.
But the kicker was: I actually wasn't all bad! Bill explained that the hardest thing for ballet dancers to do in his auditions is walk and run. I liked this because it showed me that we can get so tied up in the complexity of it all that we forget the simplest tasks. We practiced running. There's a flourish you do with it, but, other than that, as Bill said, "Running is running. No need to reinvent it." Other dancers did try. They scampered across the floor in little baby steps. I don't mean to berate them. I actually thought it looked quite beautiful. But when he told me to run, I took off like I was on a treadmill. I figured, hey, I run a lot, so, yeah, I got this. And I did! Bill complemented my natural run! Now, I know that's a minor and perhaps manufactured victory, but I'm counting it as a win nonetheless.
It also provided space for my favorite thing about Bill's class. As we ran, Bill taught us that, traditionally, men keep their arm flourishes low. Women raise their arm flourishes high. High and low notes. Sopranos and baritones, metaphorically. As someone who gets very excited by subtle moments to prod my gender, I was instantly struck by this. When I ran, I flourished as high as I could. Knowing that this was the more "feminine" run provided, in my mind, a nice juxtaposition against my masculine presentation. There is no equation for non-binary-ness. It isn't a matter of adding just enough femininity and just enough masculinity. It's about something that goes beyond all that altogether. But, in that moment, it was nice to let masculinity and femininity swirl, and, in so doing, awaken something more, other nodes on the network of gender, feelings of freedom and selfhood.
I have many friends who have made physical changes to their bodies so that they better represent who they are. They are strong, they are beautiful, they are powerful. I have never had the impulse to do this through medicine or surgery, though. For me, my pleasure in being non-binary stems from what I'll call the "secrets." They're the internal knowledge that I'm doing something to feel more...me. I started my gender exploration as a cosplayer, where non-binary identities can remain a little more secret because gender-bending costumes can be viewed as just that, costumes that may in fact say nothing about someone's actual gender identity. For me, though, my gender-bending was my way of saying more about my non-binary interior. When I moved that exploration outside of cosplay, I started looking for all the other ways we costume, and all the ways, in there, that I could push and prod and question. I'm not sure if that will unfold into bigger manifestations, but right now I'm just fascinated by the details of gender that one might overlook.
So when I ran "feminine" in Bill-et, I found yet another one of those potentially liberating nooks of gender, and I was more than happy to cozy up to it, if even only for a moment.
Thankfully, my old newbie friend Tom was there with me during this class, so we could at least find some company for our terrifying, 'Nam-esque misery. The work was hard, but Bill taught me that, if you've got someone encouraging you along the way, the work can be hard. You'll get through it. Sometimes, I see students of mine shrink in the shadow of hard work. They take it, sometimes, as a sign that it wasn't meant for them. That God doesn't want this for them. I don't know, but I don't think God works that way. I think God actually has no real sense of what human "hard work" is. All this sh*t we do down here has to be easy to God, right? I think what God probably really cares about is whether or not people can use difficulty as a point to come together, to empathize. I truly don't think God cares what the task is. I think God cares about reactions to tasks great or small. Obviously, I'm using "God," here, but I don't mean that to exclude my Atheist and/or Agnostic friends. I mean to suggest that, if there is anything at all greater than us controlling our paths even slightly, I just can't accept that that Anything would say to us, "Yeah...trigonometry is hard. I mean, you clearly had a passion for it, but the fact that you suck was just my way of saying, 'Hey, maybe don't aim so high.'" The Anything is at least partly responsible for trigonometry, so the idea of it being "hard" would surely be abstract to its (even partial) creator. But, since we have free will, our interactions could potentially surprise the Anything in ways trigonometry can't. When I'm falling all over myself, and a gruff, seasoned Bill-et instructor comes over and reaches out with empathy, I think that surprises the Anything, especially since we've demonstrated so many negative responses in our brief time here.
But the kicker was: I actually wasn't all bad! Bill explained that the hardest thing for ballet dancers to do in his auditions is walk and run. I liked this because it showed me that we can get so tied up in the complexity of it all that we forget the simplest tasks. We practiced running. There's a flourish you do with it, but, other than that, as Bill said, "Running is running. No need to reinvent it." Other dancers did try. They scampered across the floor in little baby steps. I don't mean to berate them. I actually thought it looked quite beautiful. But when he told me to run, I took off like I was on a treadmill. I figured, hey, I run a lot, so, yeah, I got this. And I did! Bill complemented my natural run! Now, I know that's a minor and perhaps manufactured victory, but I'm counting it as a win nonetheless.
It also provided space for my favorite thing about Bill's class. As we ran, Bill taught us that, traditionally, men keep their arm flourishes low. Women raise their arm flourishes high. High and low notes. Sopranos and baritones, metaphorically. As someone who gets very excited by subtle moments to prod my gender, I was instantly struck by this. When I ran, I flourished as high as I could. Knowing that this was the more "feminine" run provided, in my mind, a nice juxtaposition against my masculine presentation. There is no equation for non-binary-ness. It isn't a matter of adding just enough femininity and just enough masculinity. It's about something that goes beyond all that altogether. But, in that moment, it was nice to let masculinity and femininity swirl, and, in so doing, awaken something more, other nodes on the network of gender, feelings of freedom and selfhood.
I have many friends who have made physical changes to their bodies so that they better represent who they are. They are strong, they are beautiful, they are powerful. I have never had the impulse to do this through medicine or surgery, though. For me, my pleasure in being non-binary stems from what I'll call the "secrets." They're the internal knowledge that I'm doing something to feel more...me. I started my gender exploration as a cosplayer, where non-binary identities can remain a little more secret because gender-bending costumes can be viewed as just that, costumes that may in fact say nothing about someone's actual gender identity. For me, though, my gender-bending was my way of saying more about my non-binary interior. When I moved that exploration outside of cosplay, I started looking for all the other ways we costume, and all the ways, in there, that I could push and prod and question. I'm not sure if that will unfold into bigger manifestations, but right now I'm just fascinated by the details of gender that one might overlook.
So when I ran "feminine" in Bill-et, I found yet another one of those potentially liberating nooks of gender, and I was more than happy to cozy up to it, if even only for a moment.
Friday, March 8, 2019
Lesson #9
It was my birthday on Monday! The unintended consequence of that was that I felt like a complete blob for most of the week. That was good, at first, but then the blobbiness sort of overtook me. I knew I should move my body beyond the Bermuda Triangle that is my bed -->couch --> kitchen, but it was cold. And I was comfortable. And G.I. Joe cartoons were streaming. Eventually, though, on a day I unexpectedly had off, I left for ballet.
That was Thursday. I was back with my usual teacher, and my usual friends. This time, that felt less like a treat and more like a routine, though I certainly welcomed it. It's good to find some sort of reward whenever you have to force yourself to do anything. For me, that was getting in a few laughs with friends, and enjoying the teaching style of an instructor I really have come to like. She's precise in her lessons and genuine in her encouragement to all of us. She models some of the qualities I hope I bring into my own classroom.
This time, there was a new-newbie. This person had never done ballet before in his life, as he told us. I remembered being in his shoes (well, socks), when even the opening stretch routine felt alien to me. Now, even though I'm only nine lessons in, that part of class is almost entirely muscle memory. That's good because it lets me focus on the stretch itself and the way it makes my body feel rather than which movement goes where. This is where I'd offer empathy for the new-newbie, where I'd say something like, "He'll get there," but...I'll get to that.
When we did work at the barre, I noticed my feet align more easily now into fifth position. That was really hard on day one, and it's still difficult, but I can feel, little by little, my ability to twist more. That gradual improvement is a nice reminder that, for many things in life, regular practice - if not daily practice - will bring results. As a person thinking about their own gender, this is helpful because it means that the simple act of thinking *is* work. That, with every thought I have, and with every question I try to answer, my mental feet are aligning more and more with where I hope them to be, eventually. Even if I don't feel like it, the fact that I'm there counts. No one tells you how to be who you are. You just have to experiment, set up some sort of fluid goal, and try to get there.
It wasn't long before my blobbiness came out in class, though. I wore a Wimpy T-shirt (you know, the cartoon guy obsessed with hamburgers) that said "Slacker" on it because I was not trying to be subtle about my feelings. After we put the barres away, I really had to concentrate in order to at least attempt all the steps in a given routine. My focus was often broken not just by my blobbiness, but by...
The new-newbie. [Okay, if you're sensitive to harsh language, or maybe you're reading with kids, now is the point you may want to stop reading. I'll let you know when it's safe again. Hopefully you can just skim to the next set of brackets. Okay, still here? Great.] F*ck the new-newbie and his f*cking innate ability to seemingly do everything f*cking perfect and ask these questions that are, like, f*cking deep, but also relatable, and just so exactly *get* to the f*cking brass tacks of what we're all trying to accomplish here BUT ALSO BE F*CKING FUNNY, like waaaaay funnier than me, which f*cking kills me because, like, you can take my ballet ability, that's easy, but all I have are my sh*tty jokes and if you do THOSE better than me, gawd I just askjfhs;lkuhkdhjaksjdhgakfjdhg!!! AND HIS HAIR. Let's talk about f*cking that for a sec because it was f*cking lustrous. Like out of a Disney movie - any gender in a Disney movie as long as they're young and the protagonist. I didn't really get to see his eyes, because he's also f*cking taller than me, but I'll bet they are just so d*mn soulful, too, like they contain the answers to the f*cking universe and sh*t and tucked away, in there, is all these beautiful ballet questions that I'll bet he has on HIS blog which is probably some Paul-Krugman-of-Ballet-level sh*t and I should probably just link to it if I ever find it because I'm sure it's waaaaay more awesome than this sh*t right here. Okay. Rant over. [Bring the kids back into the room. I'm ready to empathy again.]
There's a lesson, here. The lesson is that everyone learns differently, and everyone comes to different environments bringing different stuff. Sometimes, people bring exactly what they need to survive. Sometimes, you have to fashion those essentials out of whatever's around. I have always been in the latter category. The new-newbie seems to be a quick study, but I wonder if, to him, he doesn't feel like he's fighting an uphill battle. Maybe, even though we all learn differently and at different speeds, we are often more united than we think in our self-images. I wish communication and collaboration were taught in schools, from an early age. We know we're supposed to "work together," but we don't get much in the way of what that means. What do we express to one another? What frustrations can we express academically? How do we uplift others who express those frustrations? There are no standardized answers to these questions, but we can at least address those issues in classes.
In my class, my students have bonded in a very positive way. This leads some to, from time to time, be armchair therapists to others who are struggling. I like seeing this in action because (a) I know those students would never mistake themselves for *actual* therapists and (b) students helping each other can form bonds that will last the rest of their college days. In some ways, we're forming those bonds in ballet. In other ways, I'm forming those bonds gender-wise.
Anyone who is either not cis or performs their cisness in a way that others may not expect can feel adrift in the sea of gender rigidity and discrimination that exists so unfortunately (and so strongly) today. Being uplifted by others facing the same challenges (or different challenges, but with keen awareness of your challenges) propagates empowerment and agency for all involved. It can be a beautiful thing.
So, new-newbie, even though, to me, you seem to have absolutely zero problems, I reach out to you, on this blog you will most likely never read, and offer myself as a source of positive reinforcement and understanding. Goodness knows I've taken enough such empowerment from those I've been lucky enough to meet. If I can put more out into the world, I'd be delighted.
Aaaaaand if that doesn't work, then I'll always have Walgreens. I stopped in on my way home and found that this particular Walgreens had an action figure in stock that I had been looking for. This action figure is exclusive to that chain. It's of Mystique, the X-Men mutant who can shape-shift. It's really cool! And it was on sale. So now I have that, a totem that will accompany me as the blobbiness overtakes me once again.
That was Thursday. I was back with my usual teacher, and my usual friends. This time, that felt less like a treat and more like a routine, though I certainly welcomed it. It's good to find some sort of reward whenever you have to force yourself to do anything. For me, that was getting in a few laughs with friends, and enjoying the teaching style of an instructor I really have come to like. She's precise in her lessons and genuine in her encouragement to all of us. She models some of the qualities I hope I bring into my own classroom.
This time, there was a new-newbie. This person had never done ballet before in his life, as he told us. I remembered being in his shoes (well, socks), when even the opening stretch routine felt alien to me. Now, even though I'm only nine lessons in, that part of class is almost entirely muscle memory. That's good because it lets me focus on the stretch itself and the way it makes my body feel rather than which movement goes where. This is where I'd offer empathy for the new-newbie, where I'd say something like, "He'll get there," but...I'll get to that.
When we did work at the barre, I noticed my feet align more easily now into fifth position. That was really hard on day one, and it's still difficult, but I can feel, little by little, my ability to twist more. That gradual improvement is a nice reminder that, for many things in life, regular practice - if not daily practice - will bring results. As a person thinking about their own gender, this is helpful because it means that the simple act of thinking *is* work. That, with every thought I have, and with every question I try to answer, my mental feet are aligning more and more with where I hope them to be, eventually. Even if I don't feel like it, the fact that I'm there counts. No one tells you how to be who you are. You just have to experiment, set up some sort of fluid goal, and try to get there.
It wasn't long before my blobbiness came out in class, though. I wore a Wimpy T-shirt (you know, the cartoon guy obsessed with hamburgers) that said "Slacker" on it because I was not trying to be subtle about my feelings. After we put the barres away, I really had to concentrate in order to at least attempt all the steps in a given routine. My focus was often broken not just by my blobbiness, but by...
The new-newbie. [Okay, if you're sensitive to harsh language, or maybe you're reading with kids, now is the point you may want to stop reading. I'll let you know when it's safe again. Hopefully you can just skim to the next set of brackets. Okay, still here? Great.] F*ck the new-newbie and his f*cking innate ability to seemingly do everything f*cking perfect and ask these questions that are, like, f*cking deep, but also relatable, and just so exactly *get* to the f*cking brass tacks of what we're all trying to accomplish here BUT ALSO BE F*CKING FUNNY, like waaaaay funnier than me, which f*cking kills me because, like, you can take my ballet ability, that's easy, but all I have are my sh*tty jokes and if you do THOSE better than me, gawd I just askjfhs;lkuhkdhjaksjdhgakfjdhg!!! AND HIS HAIR. Let's talk about f*cking that for a sec because it was f*cking lustrous. Like out of a Disney movie - any gender in a Disney movie as long as they're young and the protagonist. I didn't really get to see his eyes, because he's also f*cking taller than me, but I'll bet they are just so d*mn soulful, too, like they contain the answers to the f*cking universe and sh*t and tucked away, in there, is all these beautiful ballet questions that I'll bet he has on HIS blog which is probably some Paul-Krugman-of-Ballet-level sh*t and I should probably just link to it if I ever find it because I'm sure it's waaaaay more awesome than this sh*t right here. Okay. Rant over. [Bring the kids back into the room. I'm ready to empathy again.]
There's a lesson, here. The lesson is that everyone learns differently, and everyone comes to different environments bringing different stuff. Sometimes, people bring exactly what they need to survive. Sometimes, you have to fashion those essentials out of whatever's around. I have always been in the latter category. The new-newbie seems to be a quick study, but I wonder if, to him, he doesn't feel like he's fighting an uphill battle. Maybe, even though we all learn differently and at different speeds, we are often more united than we think in our self-images. I wish communication and collaboration were taught in schools, from an early age. We know we're supposed to "work together," but we don't get much in the way of what that means. What do we express to one another? What frustrations can we express academically? How do we uplift others who express those frustrations? There are no standardized answers to these questions, but we can at least address those issues in classes.
In my class, my students have bonded in a very positive way. This leads some to, from time to time, be armchair therapists to others who are struggling. I like seeing this in action because (a) I know those students would never mistake themselves for *actual* therapists and (b) students helping each other can form bonds that will last the rest of their college days. In some ways, we're forming those bonds in ballet. In other ways, I'm forming those bonds gender-wise.
Anyone who is either not cis or performs their cisness in a way that others may not expect can feel adrift in the sea of gender rigidity and discrimination that exists so unfortunately (and so strongly) today. Being uplifted by others facing the same challenges (or different challenges, but with keen awareness of your challenges) propagates empowerment and agency for all involved. It can be a beautiful thing.
So, new-newbie, even though, to me, you seem to have absolutely zero problems, I reach out to you, on this blog you will most likely never read, and offer myself as a source of positive reinforcement and understanding. Goodness knows I've taken enough such empowerment from those I've been lucky enough to meet. If I can put more out into the world, I'd be delighted.
Aaaaaand if that doesn't work, then I'll always have Walgreens. I stopped in on my way home and found that this particular Walgreens had an action figure in stock that I had been looking for. This action figure is exclusive to that chain. It's of Mystique, the X-Men mutant who can shape-shift. It's really cool! And it was on sale. So now I have that, a totem that will accompany me as the blobbiness overtakes me once again.
Wednesday, February 27, 2019
Lesson #8
I've often wondered why students tend to pick the easiest option. Like, if I offer a set of choices or offer work that is optional (generally, this is to further reading on an already assigned topic), the majority of students I have will opt for the choice of least resistance, especially at the start of the semester, and especially-especially if the extra thing doesn't bear any extra credit, only extra enrichment. Some teachers call this laziness, but I don't. I don't like the word "lazy" in the classroom. I was called "lazy" by my teachers in elementary school, and it couldn't have been more damaging. It made me hate school. And besides, I didn't think I was lazy. Truth is: "Lazy" is a lazy word. It's a quick way of shoving a complex situation under the rug. Students have responsibilities. In college, this comes in the form of work, taking care of family, caring for friends in crisis, and seeing to their own self-care. In elementary school, there are fewer responsibilities (though chores are certainly a thing), but many students can feel overwhelmed at that (or any) age.
My last ballet class got me thinking about why some have the tendency to set the video game level to "Easy" from time to time. I attended on Tuesday, so I was back with the teacher I originally had. I hadn't seen her in weeks, due to me taking Thursday classes. Her teaching felt a bit alien to me. Honestly, she wasn't doing anything terribly different from the Thursday teacher, but little tweaks in language and types of movement threw me off. I really felt good during the barre work. There, the teaching was similar to what I was used to, so I could focus on myself in the mirror.
This is generally hard for me to do, look at myself in the mirror. I'm prone to body shaming myself, and the more I see my reflection, the more I...don't like it. But Tuesday was an exercise in moving past that, and I think it kinda sorta worked. I won't say it wasn't uncomfortable, but there were times when focusing on something I liked about myself - the way my fingers fell, how my arm looked when it was outstretched, my Pikachu T-shirt (#nerdshirtsforlyfe), little things - I felt better. I felt like maybe I shouldn't try to avoid myself as much. As a result, the dancing felt smoother, more confident. It's as if...everything was connected. That's probably not shocking to read, but it's something I don't tell myself often enough.
Later, I moved through the across-the-floor routines pretty stumble-y. The teacher would demonstrate the series of moves we were supposed to do, and what their count was. This really stumped me. I'm having trouble counting music, and so when I dance, I try to count the music and get the steps right, and, as a result, I usually end up going at a snail's pace and doing neither the counting nor the dancing very well. Based on my experience with the barre work, though, I think this can improve if I just focus on counting music more outside of class. That way, counting can start to feel natural, and, when I need to count off steps in class, that'll just throw one less-natural thing into the mix (the ballet-ing). Plus, counting music can be done virtually anywhere. If I started practicing the sweeping dances on my bus ride to work, I'd probably get more stink-eye than that one time I cracked open a tupperware of hot fish (sorry! I hadn't eaten that day and it was the only vaguely healthy thing the store had!).
It's these across-the-floor dances (in which a series of ballet steps is designed to take me from one end of the studio to the other) that also gave me a moment to think about why students choose "Easy" sometimes. In these sequences, both the Thursday teacher and the Tuesday teacher give add-on steps that more advanced dancers can do if they like. In this case, the added step was a turn that I knew I could do. I had done it before in the Thursday class. Sure, it wasn't easy, but I knew I could do it. Yet, when it came time to opt-in and prove myself, I...didn't. I shied away and stuck with the easy steps, the steps that were, sure, not easy for me, but also not a push. I knew I could get away with doing those steps and not risk getting called out. (Being called out in this ballet class, by the way, is never bad. It's always supportive, and the teacher is consistently careful to use one-on-one coaching as a lesson to others, and she'll do that in a respectful way. I think getting called out, though, does trigger my feelings in elementary school, when those same teachers who called me "lazy" called me out for other stuff. I'm being forced to confront that here, which I think is good, but it'll also take work.)
This gave me some insight as to why my students might sometimes not elect to do the add-on work. They're *not* lazy, that much is for sure. However, their reluctance also does *not* stem from a lack of intellectual curiosity. They *do* want to get smarter, just like I *do* want to learn ballet. They stop short sometimes, as I do, because the challenge of performing the harder step comes with the risk of getting it wrong, and then that's two failures: not only did you fail to do the actual step, you failed in mustering courage, because the courage you mustered was in vain. Logically, I know it doesn't work this way. *Any* courage mustered, regardless of the result, is meaningful so long as it's in pursuit of an honest, positive goal. But, in the moment, when you have to make that split-second decision about whether to, as Master Yoda says, "do or not do," it's hard to think logically. The impulsive courage has to be there, and, for me, in ballet, it isn't.
I can foresee that changing, though. In this class, there was one familiar face. There was also one kind and warm newbie who was taking her first class. We spoke afterward, and she expressed sadness that she didn't get a lot of the steps right. I told her I can relate to that feeling. "But you're so good!" she said. This I did not expect to hear. I am, by no measure, "good." But I appreciated hearing her say that. I reassured her that any improvement I have made has happened because I started in exactly the same position she was, and that, over time, you really do notice incremental improvements. Especially when you blog about them! I told her to stick around, and if she's falling over her feet, I am probably falling over mine, too. As the colorful, plastic Ponies say, "Friendship is Magic," and they are absolutely right.
That may be why, later in the semester, students take risks in my class more readily. They have people they know will love them either way. Early on, though, I feel like the choice to not take the added risk makes total sense. I wouldn't encourage people that way, but I do get it. They'd rather put their effort into something that has a higher chance of working out more-or-less perfectly than risk *both* failing a task (graded or not!) and failing some sort of test of courage. Maybe this is where we need our heroic stories to step in. Should Luke Skywalker be celebrated even if he took that shot and *didn't* blow up the Death Star? (Okay, that would make for a much different movie, but maybe apply that to a lower-stakes, real-life situation.) I think yes. I kinda think courage for courage sake, regardless of outcome, needs more celebration in our stories. That may be where the true virtue of *Rocky* (the first one) lives. Creed wins the match, technically, but the endurance Rocky exhibits (and his love for Adrian) means we are still happy to partake in tears. It isn't that we leave "unsatisfied;" we leave questioning what truly satisfies us. Change that in our stories, and I think we'll start changing it in our lives, too.
In my class, there is an older student. He is in his 70s. After class, we talked. He told me he wished he had his youth back. He told me that dancing must come from the heart, and if you don't have that, you don't have it. He told me about how much he loves the music that comes with our lessons, which I do, too. I see him every class, but, in this vulnerable moment, he seemed to feel as though his physical age was a barrier to success. Quite the contrary. I've seen this person at every class I've attended, including the one on the infamous -15-degree night. When he's dancing, he's clearly in love. He gestures beautifully, and, though there are some steps he physically can't do (again, in his 70s), the dances he performs are so graceful, so delightful. I would pay to see him dance! All I could think as he was talking was how much he is the most youthful student in class. He's an example to me. I hope, someday, I can achieve the level of carefree elegance that he has. It's that kind of courage I want to celebrate.
QUICK GENDER THOUGHT:
This is a thought that couldn't really flow with the rest of this post, but I wanted to write a paragraph about it, anyway, just because it was on my mind. In this class, we, like usual, have the task of moving barres out to the floor of the studio and then putting them back in their place afterward. (There are also fixed barres on the walls which don't move, obviously.) In this class, I moved the barre back by picking it up in the center. Two women flanked me, carrying the barre at the ends. One joked, "I didn't know we were gonna be able to take it easy today, having a big, strong man carry this for us." I laughed and shrugged that off, returning the joke by furthering the humor with some off-the-cuff comment I don't really remember. It was a light moment, and I'm happy to let it be such. But it did get me thinking about when mentioning my non-binary self is "appropriate," in the sense of "personally rewarding." On the one hand, I want everyone to know I'm non-binary - I'm happy to be! On the other, my masculine appearance doesn't exempt me from gender-based joking around (or male privilege, another thing I want to remain conscious of and take VERY seriously), and I kind of am not bothered by that? I need to think about this more because I'm not yet sure if I go along with being a "man" in some cases for my own comfort or for the comfort of others. I'm not in a place where it really hurts me to *not* shoot down a joke based on me being a "man" (and a big, strong one, at that! [Where was that comment when I was younger and probably could have used the confidence boost!?]). I know some non-binary people for whom that sort of implication, the implication that they are of a binary gender, would be quite triggering, though. So, at times, I feel like I want to be better at saying, "Actually, I'm non-binary, so..." not just for me, but for *them.* For the people who really are hurt by misgendering in this way. (Intentional misgendering WOULD hurt me, too, but this sort of jokey, innocent assumption-based stuff doesn't.) I want to contribute to a world where enbies of all neurologies are at home. I'm just not fully sure, yet, how to reflect that in my behavior. So I think on...
My last ballet class got me thinking about why some have the tendency to set the video game level to "Easy" from time to time. I attended on Tuesday, so I was back with the teacher I originally had. I hadn't seen her in weeks, due to me taking Thursday classes. Her teaching felt a bit alien to me. Honestly, she wasn't doing anything terribly different from the Thursday teacher, but little tweaks in language and types of movement threw me off. I really felt good during the barre work. There, the teaching was similar to what I was used to, so I could focus on myself in the mirror.
This is generally hard for me to do, look at myself in the mirror. I'm prone to body shaming myself, and the more I see my reflection, the more I...don't like it. But Tuesday was an exercise in moving past that, and I think it kinda sorta worked. I won't say it wasn't uncomfortable, but there were times when focusing on something I liked about myself - the way my fingers fell, how my arm looked when it was outstretched, my Pikachu T-shirt (#nerdshirtsforlyfe), little things - I felt better. I felt like maybe I shouldn't try to avoid myself as much. As a result, the dancing felt smoother, more confident. It's as if...everything was connected. That's probably not shocking to read, but it's something I don't tell myself often enough.
Later, I moved through the across-the-floor routines pretty stumble-y. The teacher would demonstrate the series of moves we were supposed to do, and what their count was. This really stumped me. I'm having trouble counting music, and so when I dance, I try to count the music and get the steps right, and, as a result, I usually end up going at a snail's pace and doing neither the counting nor the dancing very well. Based on my experience with the barre work, though, I think this can improve if I just focus on counting music more outside of class. That way, counting can start to feel natural, and, when I need to count off steps in class, that'll just throw one less-natural thing into the mix (the ballet-ing). Plus, counting music can be done virtually anywhere. If I started practicing the sweeping dances on my bus ride to work, I'd probably get more stink-eye than that one time I cracked open a tupperware of hot fish (sorry! I hadn't eaten that day and it was the only vaguely healthy thing the store had!).
It's these across-the-floor dances (in which a series of ballet steps is designed to take me from one end of the studio to the other) that also gave me a moment to think about why students choose "Easy" sometimes. In these sequences, both the Thursday teacher and the Tuesday teacher give add-on steps that more advanced dancers can do if they like. In this case, the added step was a turn that I knew I could do. I had done it before in the Thursday class. Sure, it wasn't easy, but I knew I could do it. Yet, when it came time to opt-in and prove myself, I...didn't. I shied away and stuck with the easy steps, the steps that were, sure, not easy for me, but also not a push. I knew I could get away with doing those steps and not risk getting called out. (Being called out in this ballet class, by the way, is never bad. It's always supportive, and the teacher is consistently careful to use one-on-one coaching as a lesson to others, and she'll do that in a respectful way. I think getting called out, though, does trigger my feelings in elementary school, when those same teachers who called me "lazy" called me out for other stuff. I'm being forced to confront that here, which I think is good, but it'll also take work.)
This gave me some insight as to why my students might sometimes not elect to do the add-on work. They're *not* lazy, that much is for sure. However, their reluctance also does *not* stem from a lack of intellectual curiosity. They *do* want to get smarter, just like I *do* want to learn ballet. They stop short sometimes, as I do, because the challenge of performing the harder step comes with the risk of getting it wrong, and then that's two failures: not only did you fail to do the actual step, you failed in mustering courage, because the courage you mustered was in vain. Logically, I know it doesn't work this way. *Any* courage mustered, regardless of the result, is meaningful so long as it's in pursuit of an honest, positive goal. But, in the moment, when you have to make that split-second decision about whether to, as Master Yoda says, "do or not do," it's hard to think logically. The impulsive courage has to be there, and, for me, in ballet, it isn't.
I can foresee that changing, though. In this class, there was one familiar face. There was also one kind and warm newbie who was taking her first class. We spoke afterward, and she expressed sadness that she didn't get a lot of the steps right. I told her I can relate to that feeling. "But you're so good!" she said. This I did not expect to hear. I am, by no measure, "good." But I appreciated hearing her say that. I reassured her that any improvement I have made has happened because I started in exactly the same position she was, and that, over time, you really do notice incremental improvements. Especially when you blog about them! I told her to stick around, and if she's falling over her feet, I am probably falling over mine, too. As the colorful, plastic Ponies say, "Friendship is Magic," and they are absolutely right.
That may be why, later in the semester, students take risks in my class more readily. They have people they know will love them either way. Early on, though, I feel like the choice to not take the added risk makes total sense. I wouldn't encourage people that way, but I do get it. They'd rather put their effort into something that has a higher chance of working out more-or-less perfectly than risk *both* failing a task (graded or not!) and failing some sort of test of courage. Maybe this is where we need our heroic stories to step in. Should Luke Skywalker be celebrated even if he took that shot and *didn't* blow up the Death Star? (Okay, that would make for a much different movie, but maybe apply that to a lower-stakes, real-life situation.) I think yes. I kinda think courage for courage sake, regardless of outcome, needs more celebration in our stories. That may be where the true virtue of *Rocky* (the first one) lives. Creed wins the match, technically, but the endurance Rocky exhibits (and his love for Adrian) means we are still happy to partake in tears. It isn't that we leave "unsatisfied;" we leave questioning what truly satisfies us. Change that in our stories, and I think we'll start changing it in our lives, too.
In my class, there is an older student. He is in his 70s. After class, we talked. He told me he wished he had his youth back. He told me that dancing must come from the heart, and if you don't have that, you don't have it. He told me about how much he loves the music that comes with our lessons, which I do, too. I see him every class, but, in this vulnerable moment, he seemed to feel as though his physical age was a barrier to success. Quite the contrary. I've seen this person at every class I've attended, including the one on the infamous -15-degree night. When he's dancing, he's clearly in love. He gestures beautifully, and, though there are some steps he physically can't do (again, in his 70s), the dances he performs are so graceful, so delightful. I would pay to see him dance! All I could think as he was talking was how much he is the most youthful student in class. He's an example to me. I hope, someday, I can achieve the level of carefree elegance that he has. It's that kind of courage I want to celebrate.
QUICK GENDER THOUGHT:
This is a thought that couldn't really flow with the rest of this post, but I wanted to write a paragraph about it, anyway, just because it was on my mind. In this class, we, like usual, have the task of moving barres out to the floor of the studio and then putting them back in their place afterward. (There are also fixed barres on the walls which don't move, obviously.) In this class, I moved the barre back by picking it up in the center. Two women flanked me, carrying the barre at the ends. One joked, "I didn't know we were gonna be able to take it easy today, having a big, strong man carry this for us." I laughed and shrugged that off, returning the joke by furthering the humor with some off-the-cuff comment I don't really remember. It was a light moment, and I'm happy to let it be such. But it did get me thinking about when mentioning my non-binary self is "appropriate," in the sense of "personally rewarding." On the one hand, I want everyone to know I'm non-binary - I'm happy to be! On the other, my masculine appearance doesn't exempt me from gender-based joking around (or male privilege, another thing I want to remain conscious of and take VERY seriously), and I kind of am not bothered by that? I need to think about this more because I'm not yet sure if I go along with being a "man" in some cases for my own comfort or for the comfort of others. I'm not in a place where it really hurts me to *not* shoot down a joke based on me being a "man" (and a big, strong one, at that! [Where was that comment when I was younger and probably could have used the confidence boost!?]). I know some non-binary people for whom that sort of implication, the implication that they are of a binary gender, would be quite triggering, though. So, at times, I feel like I want to be better at saying, "Actually, I'm non-binary, so..." not just for me, but for *them.* For the people who really are hurt by misgendering in this way. (Intentional misgendering WOULD hurt me, too, but this sort of jokey, innocent assumption-based stuff doesn't.) I want to contribute to a world where enbies of all neurologies are at home. I'm just not fully sure, yet, how to reflect that in my behavior. So I think on...
Friday, February 22, 2019
Lesson #7
I have a student who endured extensive bullying throughout high school. They* had friends, but those friendships ended, sometimes in betrayal. The student had at least one romantic partner, but the relationship was, at the very least, verbally and emotionally abusive. They want to make new friends now, in college, but it's tough. There's always a looming threat that anyone could turn out to be like their old friends, the friends who weren't really friends at all. The classroom is a very supportive one, even more so than previous years (and previous years have been great). I think this overall kindness and sensitivity comes from a sort of unspoken decision everyone made. They're all in this together, so by buttressing one person at their weakest, they're really reinforcing the whole, and by celebrating an individual success, they recognize everyone's. Slowly, the collective warmth of the group chips away at my student's shell of bad experiences. I hope this will allow the student to let loose the personality I see delightful glimpses of now, that of someone who is happy, curious, smart, engaging, and empathetic.
When I walked into ballet last night, it was more of a stumble. I don't know that I actually tripped going up the stairs to the studio, but, in the movie version of that scene, I did. But when I got there, I recognized two faces: one was my fellow newbie Tom (at least, that's what I think I named him in my Lesson #1 post to avoid outing anyone's experience level but my own) and his friend who I'll call Mary. Without even thinking about it, we just flowed into a conversation like old friends. "How was your day?" "I hope this 50-degree day just after a snowstorm isn't anything to worry about..." (Spoiler Alert: it is.) "Did you go to class last Tuesday or have you switched over to Thursdays?" Tom wears geek T-shirts, which is of course 1000% my jam. Prior to my first class, when I googled "What should I wear to ballet?," the results were pretty emphatic about the importance of me wearing a plain black T-shirt. I own exactly one of those, and it has been my uniform since Day One. But I told Tom I'd wear some of my geek shirts, too. So will Mary. If we're going to be a unit, then let's be a unit. And by "unit" I mean "wear nerd shirts and suck at ballet." And of course by "wear nerd shirts and suck at ballet," I mean "wear nerd shirts and suck less and less at ballet every day."
Starting class off on this foot made all the difference. We were chatting so much that, when the beginning stretches started, we had to consciously settle down like 2nd Graders. When we started working at the barre, I managed to talk to another student, let's say her name is Jessica, who is, for lack of a better term, damn good. She has clearly been taking ballet for a while. The teacher gives her pointers. Like, pointer-pointers. Pointers that aren't, "Aw, you fell. It's okay," but pointers like, "You have a tightness in this muscle that most people don't even know exists but if you stretch this way that'll open right up and you can really hit that seventh pirouette." But the awesome thing about Jessica is that I get the sense she's One Of Us. Part of the Nerd Shirt Unit (the NSU, obvi). We can joke about trying to ballet while drunk (a thing that I'm not convinced would make me any worse). She, like the rest of the NSU, can take the work seriously, but, as Barack Obama once said, "not take ourselves too seriously." Whenever our teacher asks who wants to go first, she, like Tom, Mary, and me, can muster a hearty, "Not me!"
Playing off the energy of those around me, I started taking risks. Often, our teacher will give three sets of instructions for the more complex dances. If you're a beginner, you can do one set of steps. If you're feeling a little adventurous, you can add in a spin here or a lift there. And if you're an expert, yeah, she's got something for that, too, but I usually can't make it out other than to say it looks like a flesh tornado. A fleshnado? I'll workshop that.
I didn't go expert, but I did get a little adventurous. At one point, we all had to do a specific dance across the floor, from one side of the studio to the other. Normally, I hate these because I'm the slowest one in the class by far. Everyone, even the rest of the NSU, can book along at an express train pace. I take forever, pausing to reconsider, hear the beat, think about steps, revise what I'm doing; you know, like an actual express train if you are familiar with New York City's incredibly broken MTA. This class was no different. Our pianist had to really stretch that Jurassic Park theme for me to finally get to my target. (Seriously, I think the accompanist was worried she'd eventually have to work her way through the entire soundtrack.) But I didn't mind! I was with people I knew, and it changed my entire perspective. I shamed myself less, and focused more on doing the movements at whatever skill level I was at. Later, my teacher looked directly at me when talking about the "Beginner" option for another dance across the room. When I added the "intermediate" spin, I heard a resounding "All right Jonathan!" from the instructor. I liked that I felt motivated to take a risk and have that rewarded with recognition from a teacher whose skills I unconditionally respect and admire. That felt good.
And our teacher gets it. She has these wonderfully down-to-earth moments in class where she'll tell us about the things she gets wrong, even after all the years of work - a lifetime, really - she's put into the art of ballet. "Every week," she said, "I learn about a different thing I do wrong." I guess it's like that, if you're doing it right. I spend so much time worrying that I am royally fucking up so many areas of my life where I'm supposed to have "expertise." I haven't won X award or I haven't gotten Y opportunity or I don't look like Z. Something I wrote falls flat. A class didn't go the way I wanted. But what this helps me to see is the fact that these feelings are a sign that the wish was granted. You did become a famous whatever or an expert-level thingamajig, it just didn't happen overnight. Titles like that have to be paid for in failure, and the metacognitive work you do as a result are the receipts. My initial reaction to my teacher saying she learns about a different flub each week was sadness. I wanted to ask her how she did it, psychologically. How can you keep going if you know you'll get it wrong?
But by the end of class I didn't need to ask. I knew. It's the people. Your NSU. Whoever they are. If it's one person or a thousand. Your team. Regardless of what's on your resume, if, at the end of the day, you have someone else you'd dance with, and who would dance with you, then you have become the success you wanted to be. Even if you're alone, I imagine it's possible to create this through positive self-talk, but I still can't help but think that, the more you affirm yourself, the more others will be drawn to that. These are the people that get you, your personality, your gender, your passions, your talents, your weaknesses - you. In this way, the stuff you get "wrong" is like a leaf falling off a healthy tree. The trunk is there. The branches are there. The roots are there. It doesn't mean losing the leaf feels great, but it does mean that the leaf doesn't decide the tree.
I hope that's what my student will find in college. They've lost a lot of leaves, but I hope they realize that the tree survived, and that they are, against all odds, in a forest.
*I use the "they" in this case for the purposes of further anonymity, not necessarily to suggest a non-binary gender identity.
When I walked into ballet last night, it was more of a stumble. I don't know that I actually tripped going up the stairs to the studio, but, in the movie version of that scene, I did. But when I got there, I recognized two faces: one was my fellow newbie Tom (at least, that's what I think I named him in my Lesson #1 post to avoid outing anyone's experience level but my own) and his friend who I'll call Mary. Without even thinking about it, we just flowed into a conversation like old friends. "How was your day?" "I hope this 50-degree day just after a snowstorm isn't anything to worry about..." (Spoiler Alert: it is.) "Did you go to class last Tuesday or have you switched over to Thursdays?" Tom wears geek T-shirts, which is of course 1000% my jam. Prior to my first class, when I googled "What should I wear to ballet?," the results were pretty emphatic about the importance of me wearing a plain black T-shirt. I own exactly one of those, and it has been my uniform since Day One. But I told Tom I'd wear some of my geek shirts, too. So will Mary. If we're going to be a unit, then let's be a unit. And by "unit" I mean "wear nerd shirts and suck at ballet." And of course by "wear nerd shirts and suck at ballet," I mean "wear nerd shirts and suck less and less at ballet every day."
Starting class off on this foot made all the difference. We were chatting so much that, when the beginning stretches started, we had to consciously settle down like 2nd Graders. When we started working at the barre, I managed to talk to another student, let's say her name is Jessica, who is, for lack of a better term, damn good. She has clearly been taking ballet for a while. The teacher gives her pointers. Like, pointer-pointers. Pointers that aren't, "Aw, you fell. It's okay," but pointers like, "You have a tightness in this muscle that most people don't even know exists but if you stretch this way that'll open right up and you can really hit that seventh pirouette." But the awesome thing about Jessica is that I get the sense she's One Of Us. Part of the Nerd Shirt Unit (the NSU, obvi). We can joke about trying to ballet while drunk (a thing that I'm not convinced would make me any worse). She, like the rest of the NSU, can take the work seriously, but, as Barack Obama once said, "not take ourselves too seriously." Whenever our teacher asks who wants to go first, she, like Tom, Mary, and me, can muster a hearty, "Not me!"
Playing off the energy of those around me, I started taking risks. Often, our teacher will give three sets of instructions for the more complex dances. If you're a beginner, you can do one set of steps. If you're feeling a little adventurous, you can add in a spin here or a lift there. And if you're an expert, yeah, she's got something for that, too, but I usually can't make it out other than to say it looks like a flesh tornado. A fleshnado? I'll workshop that.
I didn't go expert, but I did get a little adventurous. At one point, we all had to do a specific dance across the floor, from one side of the studio to the other. Normally, I hate these because I'm the slowest one in the class by far. Everyone, even the rest of the NSU, can book along at an express train pace. I take forever, pausing to reconsider, hear the beat, think about steps, revise what I'm doing; you know, like an actual express train if you are familiar with New York City's incredibly broken MTA. This class was no different. Our pianist had to really stretch that Jurassic Park theme for me to finally get to my target. (Seriously, I think the accompanist was worried she'd eventually have to work her way through the entire soundtrack.) But I didn't mind! I was with people I knew, and it changed my entire perspective. I shamed myself less, and focused more on doing the movements at whatever skill level I was at. Later, my teacher looked directly at me when talking about the "Beginner" option for another dance across the room. When I added the "intermediate" spin, I heard a resounding "All right Jonathan!" from the instructor. I liked that I felt motivated to take a risk and have that rewarded with recognition from a teacher whose skills I unconditionally respect and admire. That felt good.
And our teacher gets it. She has these wonderfully down-to-earth moments in class where she'll tell us about the things she gets wrong, even after all the years of work - a lifetime, really - she's put into the art of ballet. "Every week," she said, "I learn about a different thing I do wrong." I guess it's like that, if you're doing it right. I spend so much time worrying that I am royally fucking up so many areas of my life where I'm supposed to have "expertise." I haven't won X award or I haven't gotten Y opportunity or I don't look like Z. Something I wrote falls flat. A class didn't go the way I wanted. But what this helps me to see is the fact that these feelings are a sign that the wish was granted. You did become a famous whatever or an expert-level thingamajig, it just didn't happen overnight. Titles like that have to be paid for in failure, and the metacognitive work you do as a result are the receipts. My initial reaction to my teacher saying she learns about a different flub each week was sadness. I wanted to ask her how she did it, psychologically. How can you keep going if you know you'll get it wrong?
But by the end of class I didn't need to ask. I knew. It's the people. Your NSU. Whoever they are. If it's one person or a thousand. Your team. Regardless of what's on your resume, if, at the end of the day, you have someone else you'd dance with, and who would dance with you, then you have become the success you wanted to be. Even if you're alone, I imagine it's possible to create this through positive self-talk, but I still can't help but think that, the more you affirm yourself, the more others will be drawn to that. These are the people that get you, your personality, your gender, your passions, your talents, your weaknesses - you. In this way, the stuff you get "wrong" is like a leaf falling off a healthy tree. The trunk is there. The branches are there. The roots are there. It doesn't mean losing the leaf feels great, but it does mean that the leaf doesn't decide the tree.
I hope that's what my student will find in college. They've lost a lot of leaves, but I hope they realize that the tree survived, and that they are, against all odds, in a forest.
*I use the "they" in this case for the purposes of further anonymity, not necessarily to suggest a non-binary gender identity.
Friday, February 15, 2019
Lesson #6
Well, that kicked my ass. And I don't mean it in the that-was-new-and-tough way. I mean it in the I-knew-everything-we-did-and-it-still-kicked-my-ass way. It's that unique brand of ass kicking where you can't really peg a reason for it. Nothing was unexpected. You've been trending positively in terms of building skills and becoming a better dancer. There was just...no reason to suck as severely as I did.
I have a track record of being hard on myself, so maybe, objectively, it wasn't as bad as I thought. Plus, there really weren't any other newbies in my sixth class. It was a bunch of people who had done ballet at a different school (which just meant they had their own finesses on a bunch of the moves, which, I mean, I have, too, if falling is a finesse) and the guy who literally founded the place where I take lessons. So, y'know, no pressure. But, despite this, I could see a few moments, upon reflection, where I was at least slightly in the zone. Stretching, for instance. I think I have that down. I can stretch like a boss now. Jumping. I'm okay at jumping, as long as it's in the same place. It's the moving. Last week, we did these turns (not even spins, but turns) at the barre that, for whatever reason, felt easy at the time. Last night, we did the same turns, and it was like I just got a new pair of legs. As someone whose sole purpose was to turn, I consistently forgot which way to turn. There are only two options! Yet, every time, I felt like I picked the wrong way.
It was that feeling that dominated my experience last night, and I just left feeling...sucky. It was all in my head. My teacher was wonderful about reminding us that even she has days where it's one stumble after another. But what came of that was this thought:
Progress is not linear. Progress is fluid.
At least, I think that's true. Progress doesn't happen in one neat, straight line. It flows all over the place. Sometimes, that means a leap. Sometimes, that means a giant leap backward. And sometimes that means you're doing something in a totally different ballpark (I'm thinking Leonard-Nimoy-having-a-music-career different, here). I see this in my own students all the time. One essay will be a delight; the next will be approaching incoherence. That's no fault of the student. That's just how it goes. We can bemoan the fact that we, as humans, are sometimes-failures, or we can celebrate ourselves as sometimes-successes. If you want the ratio to favor the successes, well, I guess that's where the real hard work happens.
But I also think, on top of this, that this caveat, that progress is fluid, applies to gender, too. At least, gender as I experience it. I'll try to articulate this as best I can, though I'll probably fall short. Gender, to me, is fluid. You can kind of weave in and out of many performances in many ways, or perform more than one simultaneously. You can also be none! Or you can wear the same black turtleneck every day and let people make of that what they will. The options are endless, but, if you are someone who likes to blend and switch gender performances, then I wonder if, some days, you judge your look (or "lewk") to be more successful than others. You've got some feeling in your mind, a feeling of demiboy- or demigirl- or non-binary- or trans-ness, and you want to represent that through your comportment and attire. That takes creativity because there is yet to be a Gap Non-Binary, so you try to create a mixture of clothing (provided you don't just walk around naked) that gives those you interact with a snapshot of where your head is at. (Some enbies do this sort of blending, some don't - all are valid!) When you nail it, you know. When you're suddenly wearing lipstick on your earlobe and a thong as a top because it "seemed like a good idea at the time," well, you know that, too (and, for the record, I know some people who could *rock* that, but I don't think it would work for me). Or, to offer a more typical example of this sort of "failure," you know you're non-binary, but you have to put on a binary uniform for work (whether that be a suit, a skirt, or whatever is dictated by the workplace). It's easy for me to feel, in cases like these, like I've let down the part of my brain that wants to grow and experiment with gender.
But progress, like gender, is fluid. Just because I either *have to wear* or *end up wearing* a certain set of clothes on a given day that create dysphoria, it doesn't mean I've failed my self. It means that this is where the fluidity of progress has taken me today. It isn't up or down, good or bad - it just is. Tomorrow may be different. Self-exploration allows for this sort of happenstance.
It's a little less happenstance-y in skill-based work. It wouldn't comfort me to have a brain surgeon say, "Well, I don't really study this much, but, hey, if I mess up today, things could be better for the next patient. Who knows!" With ballet, I can control my own outcome a little bit through practice, which I'm horrible about doing on my own. I know, as a teacher, that should be the first thing I'm strict about. But I'm not. No excuses. I'm just not.
So acknowledging that I can actively take steps to "favor the successes" (and then, of course, take those steps), I can make space for the fluidity of progress, which goes hand-in-hand with metacognition. There's a version of that that can work for gender, too. We're all surely in some version of a self-discovery process, even if gender never enters your self-questioning. The more one engages that process, the more aware one can become of their own fluidity, however that fluidity manifests. (I would celebrate the person who decides to try cookie dough ice cream for the first time after a lifetime of vanilla AND I would celebrate the person who tests out a new gender performance for the first time. They're not the same, but both actions speak volumes in beautifully different ways.)
Therefore, on the days that suck, especially the ones that come after the days of success, spill a glass of water on a table, and remember that the water makes no judgement about the way in which it spreads, it only cares that it eventually covers the surface. This was the lesson I learned on Valentine's Day, and it's not a bad one. Love yourself, even if it seems like your ballet flats don't.
I have a track record of being hard on myself, so maybe, objectively, it wasn't as bad as I thought. Plus, there really weren't any other newbies in my sixth class. It was a bunch of people who had done ballet at a different school (which just meant they had their own finesses on a bunch of the moves, which, I mean, I have, too, if falling is a finesse) and the guy who literally founded the place where I take lessons. So, y'know, no pressure. But, despite this, I could see a few moments, upon reflection, where I was at least slightly in the zone. Stretching, for instance. I think I have that down. I can stretch like a boss now. Jumping. I'm okay at jumping, as long as it's in the same place. It's the moving. Last week, we did these turns (not even spins, but turns) at the barre that, for whatever reason, felt easy at the time. Last night, we did the same turns, and it was like I just got a new pair of legs. As someone whose sole purpose was to turn, I consistently forgot which way to turn. There are only two options! Yet, every time, I felt like I picked the wrong way.
It was that feeling that dominated my experience last night, and I just left feeling...sucky. It was all in my head. My teacher was wonderful about reminding us that even she has days where it's one stumble after another. But what came of that was this thought:
Progress is not linear. Progress is fluid.
At least, I think that's true. Progress doesn't happen in one neat, straight line. It flows all over the place. Sometimes, that means a leap. Sometimes, that means a giant leap backward. And sometimes that means you're doing something in a totally different ballpark (I'm thinking Leonard-Nimoy-having-a-music-career different, here). I see this in my own students all the time. One essay will be a delight; the next will be approaching incoherence. That's no fault of the student. That's just how it goes. We can bemoan the fact that we, as humans, are sometimes-failures, or we can celebrate ourselves as sometimes-successes. If you want the ratio to favor the successes, well, I guess that's where the real hard work happens.
But I also think, on top of this, that this caveat, that progress is fluid, applies to gender, too. At least, gender as I experience it. I'll try to articulate this as best I can, though I'll probably fall short. Gender, to me, is fluid. You can kind of weave in and out of many performances in many ways, or perform more than one simultaneously. You can also be none! Or you can wear the same black turtleneck every day and let people make of that what they will. The options are endless, but, if you are someone who likes to blend and switch gender performances, then I wonder if, some days, you judge your look (or "lewk") to be more successful than others. You've got some feeling in your mind, a feeling of demiboy- or demigirl- or non-binary- or trans-ness, and you want to represent that through your comportment and attire. That takes creativity because there is yet to be a Gap Non-Binary, so you try to create a mixture of clothing (provided you don't just walk around naked) that gives those you interact with a snapshot of where your head is at. (Some enbies do this sort of blending, some don't - all are valid!) When you nail it, you know. When you're suddenly wearing lipstick on your earlobe and a thong as a top because it "seemed like a good idea at the time," well, you know that, too (and, for the record, I know some people who could *rock* that, but I don't think it would work for me). Or, to offer a more typical example of this sort of "failure," you know you're non-binary, but you have to put on a binary uniform for work (whether that be a suit, a skirt, or whatever is dictated by the workplace). It's easy for me to feel, in cases like these, like I've let down the part of my brain that wants to grow and experiment with gender.
But progress, like gender, is fluid. Just because I either *have to wear* or *end up wearing* a certain set of clothes on a given day that create dysphoria, it doesn't mean I've failed my self. It means that this is where the fluidity of progress has taken me today. It isn't up or down, good or bad - it just is. Tomorrow may be different. Self-exploration allows for this sort of happenstance.
It's a little less happenstance-y in skill-based work. It wouldn't comfort me to have a brain surgeon say, "Well, I don't really study this much, but, hey, if I mess up today, things could be better for the next patient. Who knows!" With ballet, I can control my own outcome a little bit through practice, which I'm horrible about doing on my own. I know, as a teacher, that should be the first thing I'm strict about. But I'm not. No excuses. I'm just not.
So acknowledging that I can actively take steps to "favor the successes" (and then, of course, take those steps), I can make space for the fluidity of progress, which goes hand-in-hand with metacognition. There's a version of that that can work for gender, too. We're all surely in some version of a self-discovery process, even if gender never enters your self-questioning. The more one engages that process, the more aware one can become of their own fluidity, however that fluidity manifests. (I would celebrate the person who decides to try cookie dough ice cream for the first time after a lifetime of vanilla AND I would celebrate the person who tests out a new gender performance for the first time. They're not the same, but both actions speak volumes in beautifully different ways.)
Therefore, on the days that suck, especially the ones that come after the days of success, spill a glass of water on a table, and remember that the water makes no judgement about the way in which it spreads, it only cares that it eventually covers the surface. This was the lesson I learned on Valentine's Day, and it's not a bad one. Love yourself, even if it seems like your ballet flats don't.
Tuesday, February 5, 2019
Lesson #5
Before going to ballet, I like to go for a run. My favorite place to run to is out by LaGuardia Airport. If you run to the Marine Air Terminal, you're right by one of their main runways. I love listening to a plane's engines spool up and then seeing the wheels jolt into action. When the plane hits its V1 speed, the pilot pivots the nose up and, in seconds, it's airborne. Just like that. From there, there's no telling where it'll go.
***
Ever get your ass kicked by a very pregnant ballerina? I mean, anyone pregnant is, by definition, solidly planted on the ass-kicker spectrum. But there has to be a special place for anyone who can be pregnant and do expert ballet at the same time. I'm barely managing now; I can only imagine how this would go if I had a vaguely human grapefruit inside of me. I kick myself enough with my own legs trying to get through the jumps, getting thwacked by another set from the interior? That is Alien chestburster-level pain...I assume. But my teacher today, someone new to me but clearly very experienced, doesn't need to assume. She knows. However, you couldn't tell by looking at her. She led us through class effortlessly. In fact, I think her child-to-be, who will no doubt be awesome, probably upstaged me in utero.
In all seriousness, though, seeing a pregnant body perform and teach ballet made me revel in the infinite combinations of body diversity that exist in the world, and how this art form can open itself to, I believe, any of those bodies. Pregnant bodies, differently-sized bodies, differently-limbed bodies, differently-healing bodies - you name it. It seems to me that the key is knowing the body you have. I don't think it's a "limitation" to say, "Okay, my body doesn't do that." When we were stretching by lying belly-first on the floor and flexing upward, I am glad that that was something my teacher said she was not going to do with us. Her body was doing other things, things that a hard floor on a stomach would not have helped. And if the thing that's being asked doesn't help your body do what it does, then I think that's a good enough reason to, well, not. If you're not sure whether doing a thing would mess with the truth of your beautiful body and you assess the risk to be worth it, then by all means: run the experiment. But other sentiments are much more expressive of for-certain body awareness. "My hips don't open like that." "This arm is shorter than the other one." "My knees won't like it if I jump like that." We should embrace statements like these. How great it is to know yourself enough to confidently say this stuff.
Beginner-level ballet seems like it can be receptive to this kind of awareness. In speaking with a psychologist friend of mine, though, career-track ballet isn't always so body positive. My friend talked to me about the eating disorders and body dysmorphia she sees in her ballet patients. Seeing ballet at my very, very introductory level, I kind of feel like this is a betrayal of what professional ballet could be, what ballet, in the best of circumstances, is. I know some dancers are pushing back against this, but perhaps any field where there's any sort of perceived homogeneity, there is pressure to conform. "Everyone looks like this." "Everyone does it that way." The sad thing is, it's almost always more interesting to see someone not do it "that way." It's one of the hardest things my students do in English: break away from the writing style of the person next to them. "But what if I'm wrong?" Reaching the clearest expression of your most essential self could never be wrong to me.
But philosophy aside, today's class, the actual class, was amazing. It was small again. Not quite as small as last time, but small. It was a warm 61 degrees outside, so maybe folx decided to ditch and head to the park. Not me, though. Neither rain nor sleet nor snow. Nor sunshine. I'm like a ballet postal worker. Today was the first time I really felt in the same boat as everyone else in the room. There were students there whom I had seen before. Students who seemed so unattainably far from where I was. But today, watching them, I realized they were grappling with the same stuff I'm grappling with. There were points where we all struggled together. (And then **cough** **pirouettes** **cough** there were times when I was the only one flopping around like a fish out of water.) I don't think the others were having an "off day" or anything. I think I just now have a more detailed understanding of our work so that I can now see more clearly the complexity of every step. And complexity is, uh...complex? So people struggle with it. We all struggle with it. It's good struggling. It's educational struggling. And I think this impacted my comfort level in the room. I talked to more people. We shared insecurities and successes. We complimented each other honestly. That's the great thing that can come from struggle, the desire to uplift. I felt that tonight, and that dance was delightfully radiant.
And then I flew. Okay, so, not actually. Here's what happened: the final thing we had to do was a sort of leaping arabesque. My teacher demonstrated it, and, halfway through, I completely forgot the first thing she said to do. I watched everyone else perform the dance, studying them dutifully. When I tried it myself, I watched my feet to try to make sure they did what the others' did. They didn't. It looked like I was on roller skates for the first time, and both my feet were uncontrollably slipping off in different directions. There was nothing elegant about this. That's when my teacher, ever-attentive to the needs of everyone (as all the teachers here have been), said to us all that we are not just an exercise class. We are a dance class. Your eyes should look up. The floor will be there. You'll land on it. Science will take care of that. Just look up and leap like you're flying. I instantly thought of Supergirl and Superman. When they leap, especially in the older comics, they have this look of hope on their face, eyes pointed at the sky. This was clearly the right thing to tell me. I took my teacher's advice. I shed my need to micromanage my feet and I just looked up, hopeful, and leaped. When I landed, my teacher said, "That's it!" My delight made me totally miss the next step, but that was okay. After repeated failed launches, that one worked. In ballet, you can fly. And, if you're lucky, your feet might even leave the floor.
The movement was so liberating. It was like taking off from a skip. When I was a kid, skipping wasn't really considered a "manly" thing to do. There are plenty of male ballet dancers who would surely, and rightly, take issue with this, and I'd support them 100%. But, for me, to take a gesture that I was told was somehow a betrayal of my assigned gender and just fully relish it made me euphoric. I'll never understand why we try to restrain bodies, as if for them to move in one way or another will mutate them into something unholy. Nothing could be farther from the truth. Body movement is a language, and, like any language, it takes on the meaning we give it, usually based on contexts both historic and personal. The sentence I said through this particular movement translates to, "My body does this now." Sentences like that, often bravely yelled by those with a lot less privilege than I have, inspire me every day.
I circle back to those planes I saw during my run. Their noses high, no one worried the wheels will somehow stick to the ground. Planes want to fly. When they land, they must account for ground effect, the air that comes up from the runway, pushing the plane back into flight. You can't keep these things down. Not when they have wings.
***
Ever get your ass kicked by a very pregnant ballerina? I mean, anyone pregnant is, by definition, solidly planted on the ass-kicker spectrum. But there has to be a special place for anyone who can be pregnant and do expert ballet at the same time. I'm barely managing now; I can only imagine how this would go if I had a vaguely human grapefruit inside of me. I kick myself enough with my own legs trying to get through the jumps, getting thwacked by another set from the interior? That is Alien chestburster-level pain...I assume. But my teacher today, someone new to me but clearly very experienced, doesn't need to assume. She knows. However, you couldn't tell by looking at her. She led us through class effortlessly. In fact, I think her child-to-be, who will no doubt be awesome, probably upstaged me in utero.
In all seriousness, though, seeing a pregnant body perform and teach ballet made me revel in the infinite combinations of body diversity that exist in the world, and how this art form can open itself to, I believe, any of those bodies. Pregnant bodies, differently-sized bodies, differently-limbed bodies, differently-healing bodies - you name it. It seems to me that the key is knowing the body you have. I don't think it's a "limitation" to say, "Okay, my body doesn't do that." When we were stretching by lying belly-first on the floor and flexing upward, I am glad that that was something my teacher said she was not going to do with us. Her body was doing other things, things that a hard floor on a stomach would not have helped. And if the thing that's being asked doesn't help your body do what it does, then I think that's a good enough reason to, well, not. If you're not sure whether doing a thing would mess with the truth of your beautiful body and you assess the risk to be worth it, then by all means: run the experiment. But other sentiments are much more expressive of for-certain body awareness. "My hips don't open like that." "This arm is shorter than the other one." "My knees won't like it if I jump like that." We should embrace statements like these. How great it is to know yourself enough to confidently say this stuff.
Beginner-level ballet seems like it can be receptive to this kind of awareness. In speaking with a psychologist friend of mine, though, career-track ballet isn't always so body positive. My friend talked to me about the eating disorders and body dysmorphia she sees in her ballet patients. Seeing ballet at my very, very introductory level, I kind of feel like this is a betrayal of what professional ballet could be, what ballet, in the best of circumstances, is. I know some dancers are pushing back against this, but perhaps any field where there's any sort of perceived homogeneity, there is pressure to conform. "Everyone looks like this." "Everyone does it that way." The sad thing is, it's almost always more interesting to see someone not do it "that way." It's one of the hardest things my students do in English: break away from the writing style of the person next to them. "But what if I'm wrong?" Reaching the clearest expression of your most essential self could never be wrong to me.
But philosophy aside, today's class, the actual class, was amazing. It was small again. Not quite as small as last time, but small. It was a warm 61 degrees outside, so maybe folx decided to ditch and head to the park. Not me, though. Neither rain nor sleet nor snow. Nor sunshine. I'm like a ballet postal worker. Today was the first time I really felt in the same boat as everyone else in the room. There were students there whom I had seen before. Students who seemed so unattainably far from where I was. But today, watching them, I realized they were grappling with the same stuff I'm grappling with. There were points where we all struggled together. (And then **cough** **pirouettes** **cough** there were times when I was the only one flopping around like a fish out of water.) I don't think the others were having an "off day" or anything. I think I just now have a more detailed understanding of our work so that I can now see more clearly the complexity of every step. And complexity is, uh...complex? So people struggle with it. We all struggle with it. It's good struggling. It's educational struggling. And I think this impacted my comfort level in the room. I talked to more people. We shared insecurities and successes. We complimented each other honestly. That's the great thing that can come from struggle, the desire to uplift. I felt that tonight, and that dance was delightfully radiant.
And then I flew. Okay, so, not actually. Here's what happened: the final thing we had to do was a sort of leaping arabesque. My teacher demonstrated it, and, halfway through, I completely forgot the first thing she said to do. I watched everyone else perform the dance, studying them dutifully. When I tried it myself, I watched my feet to try to make sure they did what the others' did. They didn't. It looked like I was on roller skates for the first time, and both my feet were uncontrollably slipping off in different directions. There was nothing elegant about this. That's when my teacher, ever-attentive to the needs of everyone (as all the teachers here have been), said to us all that we are not just an exercise class. We are a dance class. Your eyes should look up. The floor will be there. You'll land on it. Science will take care of that. Just look up and leap like you're flying. I instantly thought of Supergirl and Superman. When they leap, especially in the older comics, they have this look of hope on their face, eyes pointed at the sky. This was clearly the right thing to tell me. I took my teacher's advice. I shed my need to micromanage my feet and I just looked up, hopeful, and leaped. When I landed, my teacher said, "That's it!" My delight made me totally miss the next step, but that was okay. After repeated failed launches, that one worked. In ballet, you can fly. And, if you're lucky, your feet might even leave the floor.
The movement was so liberating. It was like taking off from a skip. When I was a kid, skipping wasn't really considered a "manly" thing to do. There are plenty of male ballet dancers who would surely, and rightly, take issue with this, and I'd support them 100%. But, for me, to take a gesture that I was told was somehow a betrayal of my assigned gender and just fully relish it made me euphoric. I'll never understand why we try to restrain bodies, as if for them to move in one way or another will mutate them into something unholy. Nothing could be farther from the truth. Body movement is a language, and, like any language, it takes on the meaning we give it, usually based on contexts both historic and personal. The sentence I said through this particular movement translates to, "My body does this now." Sentences like that, often bravely yelled by those with a lot less privilege than I have, inspire me every day.
I circle back to those planes I saw during my run. Their noses high, no one worried the wheels will somehow stick to the ground. Planes want to fly. When they land, they must account for ground effect, the air that comes up from the runway, pushing the plane back into flight. You can't keep these things down. Not when they have wings.
Thursday, January 31, 2019
Lesson #4
To put it mildly: Thursday was cold. Though many places had it worse than New York City (where I'm located), waking up to a 4-degree day with a windchill that made it feel like -15 had me looking for the nearest Tauntaun to slice open. (Ah, if only we could make a fire out of the Hoth references evoked by frigid weather, we'd stay warm for days.) But, since I didn't go to ballet on Tuesday, that meant I had to get my weekly fix Thursday, Rura Penthe climate or not. (Yeah, I guess Star Trek cold references don't work as well as Star Wars ones, eh?)
So I put on my two coats, boots, and my most bank robber-y of ski masks, threw my flats in my gym bag, and off I went to a jam-packed class of...seven people. Seven. I've never seen so few people there. This was not good news. Normally, in a class of 20, I could hide behind Baryshnikov II and hope my feet just sort of get lost in the temporal displacement caused by the other dancers' warp-speed movements. But in a group of seven, there was nowhere to run. At first, this was a scary prospect. I'd have to sink or swim by my own abilities. Whatever I contributed, it would be noticed.
And noticed it was. But, honestly, that wasn't so bad. In fact, the adjustments and attention I received were incredibly helpful in allowing me to correct some misalignments that had been plaguing me from the start. Plus, looking around the room, I actually got to see the other students for who they were, too. I've said before that everyone is incredibly kind, and this was no different. However, now, I could see some of their needs, as well as my own. As a group of seven, we all benefitted from our teacher's notes, and her individualized encouragement. Small class size is something we academic teachers argue for a lot, but, to feel that difference as a student really hammered home the impact fewer students in a room can make on the learning process.
Not to mention, I think I moved a part of my body that has literally never moved before. My teacher asked me to open up my back and feel it in a particular spot, just below my shoulder blade, that I had never consciously considered. I did this, and it was as if a new part of myself just said hello. It's, uh - pretty stiff? But it's there. I think my whole body - mental and physical - is trying to adjust to the demands of this class. I can't do fifth position in the way my teacher or my classmates can. Two feet lined up basically parallel, but touching toe to heel. It gets a little closer each week, but this reinforces the fact that there are some things bodies do, and there are other things bodies learn. My body, granted with movable feet, will try to learn to bend this way. Or, if it can't be a rubbery "Bend-'Ems" toy, well, that's okay, too.
Everything was moving along pretty well until the last five minutes, which really gave me something to chew on. As a final dance, our teacher separated us into men and women, and had the men do a dance counterclockwise around the room while women did the same dance clockwise. Men made up an outer ring, women made up the inner one. My teacher put me into the "men" group which, well, makes sense. It's how I present to most, and I've never spoken to her about me being non-binary. (In fact, this was only the second time I've met her at all.) I figured, misgendering or not, dysphoria or not (and there was some dysphoria), I'd just take the opportunity to practice the steps and perform a role.
Once I got past the initial discomfort, I started to think about ballet on a broader scale. Old dances built around wooing often preserve heterosexual, gender-binary wooing. Men woo women. Women woo men. Any period movie about 18th Century socialites will no doubt offer some common examples. But what would the non-binary version of this look like? One might argue it would look a lot like what we were doing before, all dancing in the same, non-segregated group. But I think that loses the performance of wooing. (It's important to note that this is performed wooing, as no one in class was actually trying to woo IRL at all. I would be seriously interested in an asexual/aromantic dancer's experience of these dances, though.) It also creates this idea that "non-binary" means no recognition of gender whatsoever. This is not what I want, and it's not what I think many non-binary folx want. I think many of us - me, certainly - want tons of gender, lots of gender, all gender recognized, validated, loved, and non-toxic. This is what the circle-of-men-circling-a-circle-of-women offers that a large group of everyone can't. So, if we're building on the idea of circles within circles, one might say, okay, just make more circles. Men, women, and non-binary people. But, there, "non-binary people" is a huge catch-all. Do we break this down into folx who are agender, demigirls, demiboys, Two Spirit, burrnesha, etc..., etc..., etc...? That seems like a lot of circles, and circles that may, in some small groups, consist of just one person.
Gender has been described by Ramzi Fawaz as a network with nodes that dip into other nodes at different times for different folx. In this way, gender, to me, is closer to feelings. If instead of men and women, our teacher separated us into "happy people" and "sad people," the task would be nearly impossible. Do you mean happy today or happy in general? There are times when I'm happy and times when I'm sad, and there are times when I'm other things all together. How can I put myself into one group when I'm fluid? I experience gender similarly. I'm non-binary, but some days are more masc, some days are more femme, and some days are other things all together. Luckily, though, Fawaz's network is inherently dance like, with synapses connecting then dissolving only to reconnect later. There is a dance in this, but I feel like it's better left to a choreographer with more than four ballet classes to their name.
That said, though, I think it is a worthwhile project to look at ballet and formal dances of England and France (and the U.S.) and think of ways to queer them. That doesn't mean "just add Queer people," but, in addition to that, think about ways the motions of the dances themselves might better embody the non-binary reality experienced by so many cultures for centuries. Until I can better figure out a way to approach that, I'm happy to learn the binary dances ballet can offer, even if it means I have to perform a male role (and who knows, my teacher might be into my fluidity if I talk to her about it - and I might just do that!). I'm privileged to be able to do what my friend calls "boy drag" without being triggered by such a performance. For many Enbies, taking on that kind of binary role would be a massive emotional hardship, and I respect that immensely. For me, though, if I can use it as a way to think of an alternative, I'm more enthusiastic about engaging in it.
Also, in the case of this specific dance, I was struck by how, even though we were in two separate, gendered groups, we were all doing the same dance. Maybe that's an underlying metaphor in and of itself: that, yes, labels can help us find and talk about our people and ourselves, but, on some level, the actual dance can be a reminder of similarity among us all. It honors the difference and the sameness, an admirable achievement for what basically amounts to a lot of skipping and smiling.
As I donned my layers, the pianist from last week asked me how things were going. I said I thought they were going pretty well, but, hey, could I just ask one question? She said I could. "Okay, so, last week, I was doing that one particular dance, and, like, something kinda snagged my mind, and I thought it was really cool. Um. Were you playing the theme song to Jurassic Park?" "Yeah," she said, "I was." Finally, I thought, a mystery I could solve.
So I put on my two coats, boots, and my most bank robber-y of ski masks, threw my flats in my gym bag, and off I went to a jam-packed class of...seven people. Seven. I've never seen so few people there. This was not good news. Normally, in a class of 20, I could hide behind Baryshnikov II and hope my feet just sort of get lost in the temporal displacement caused by the other dancers' warp-speed movements. But in a group of seven, there was nowhere to run. At first, this was a scary prospect. I'd have to sink or swim by my own abilities. Whatever I contributed, it would be noticed.
And noticed it was. But, honestly, that wasn't so bad. In fact, the adjustments and attention I received were incredibly helpful in allowing me to correct some misalignments that had been plaguing me from the start. Plus, looking around the room, I actually got to see the other students for who they were, too. I've said before that everyone is incredibly kind, and this was no different. However, now, I could see some of their needs, as well as my own. As a group of seven, we all benefitted from our teacher's notes, and her individualized encouragement. Small class size is something we academic teachers argue for a lot, but, to feel that difference as a student really hammered home the impact fewer students in a room can make on the learning process.
Not to mention, I think I moved a part of my body that has literally never moved before. My teacher asked me to open up my back and feel it in a particular spot, just below my shoulder blade, that I had never consciously considered. I did this, and it was as if a new part of myself just said hello. It's, uh - pretty stiff? But it's there. I think my whole body - mental and physical - is trying to adjust to the demands of this class. I can't do fifth position in the way my teacher or my classmates can. Two feet lined up basically parallel, but touching toe to heel. It gets a little closer each week, but this reinforces the fact that there are some things bodies do, and there are other things bodies learn. My body, granted with movable feet, will try to learn to bend this way. Or, if it can't be a rubbery "Bend-'Ems" toy, well, that's okay, too.
Everything was moving along pretty well until the last five minutes, which really gave me something to chew on. As a final dance, our teacher separated us into men and women, and had the men do a dance counterclockwise around the room while women did the same dance clockwise. Men made up an outer ring, women made up the inner one. My teacher put me into the "men" group which, well, makes sense. It's how I present to most, and I've never spoken to her about me being non-binary. (In fact, this was only the second time I've met her at all.) I figured, misgendering or not, dysphoria or not (and there was some dysphoria), I'd just take the opportunity to practice the steps and perform a role.
Once I got past the initial discomfort, I started to think about ballet on a broader scale. Old dances built around wooing often preserve heterosexual, gender-binary wooing. Men woo women. Women woo men. Any period movie about 18th Century socialites will no doubt offer some common examples. But what would the non-binary version of this look like? One might argue it would look a lot like what we were doing before, all dancing in the same, non-segregated group. But I think that loses the performance of wooing. (It's important to note that this is performed wooing, as no one in class was actually trying to woo IRL at all. I would be seriously interested in an asexual/aromantic dancer's experience of these dances, though.) It also creates this idea that "non-binary" means no recognition of gender whatsoever. This is not what I want, and it's not what I think many non-binary folx want. I think many of us - me, certainly - want tons of gender, lots of gender, all gender recognized, validated, loved, and non-toxic. This is what the circle-of-men-circling-a-circle-of-women offers that a large group of everyone can't. So, if we're building on the idea of circles within circles, one might say, okay, just make more circles. Men, women, and non-binary people. But, there, "non-binary people" is a huge catch-all. Do we break this down into folx who are agender, demigirls, demiboys, Two Spirit, burrnesha, etc..., etc..., etc...? That seems like a lot of circles, and circles that may, in some small groups, consist of just one person.
Gender has been described by Ramzi Fawaz as a network with nodes that dip into other nodes at different times for different folx. In this way, gender, to me, is closer to feelings. If instead of men and women, our teacher separated us into "happy people" and "sad people," the task would be nearly impossible. Do you mean happy today or happy in general? There are times when I'm happy and times when I'm sad, and there are times when I'm other things all together. How can I put myself into one group when I'm fluid? I experience gender similarly. I'm non-binary, but some days are more masc, some days are more femme, and some days are other things all together. Luckily, though, Fawaz's network is inherently dance like, with synapses connecting then dissolving only to reconnect later. There is a dance in this, but I feel like it's better left to a choreographer with more than four ballet classes to their name.
That said, though, I think it is a worthwhile project to look at ballet and formal dances of England and France (and the U.S.) and think of ways to queer them. That doesn't mean "just add Queer people," but, in addition to that, think about ways the motions of the dances themselves might better embody the non-binary reality experienced by so many cultures for centuries. Until I can better figure out a way to approach that, I'm happy to learn the binary dances ballet can offer, even if it means I have to perform a male role (and who knows, my teacher might be into my fluidity if I talk to her about it - and I might just do that!). I'm privileged to be able to do what my friend calls "boy drag" without being triggered by such a performance. For many Enbies, taking on that kind of binary role would be a massive emotional hardship, and I respect that immensely. For me, though, if I can use it as a way to think of an alternative, I'm more enthusiastic about engaging in it.
Also, in the case of this specific dance, I was struck by how, even though we were in two separate, gendered groups, we were all doing the same dance. Maybe that's an underlying metaphor in and of itself: that, yes, labels can help us find and talk about our people and ourselves, but, on some level, the actual dance can be a reminder of similarity among us all. It honors the difference and the sameness, an admirable achievement for what basically amounts to a lot of skipping and smiling.
As I donned my layers, the pianist from last week asked me how things were going. I said I thought they were going pretty well, but, hey, could I just ask one question? She said I could. "Okay, so, last week, I was doing that one particular dance, and, like, something kinda snagged my mind, and I thought it was really cool. Um. Were you playing the theme song to Jurassic Park?" "Yeah," she said, "I was." Finally, I thought, a mystery I could solve.
Thursday, January 24, 2019
Lesson #3
When I got home today after ballet, I had a package waiting for me. Inside the package was a 1999 Mattel "Ballet Lessons Barbie." It was a late night eBay purchase from a few days ago. I thought that, if I got the Barbie, I'd automatically become a better ballet dancer. This was surely Mattel's hope when they made her...for a six-year-old. But, in truth, Barbie, such as she is, would be a really shitty ballet dancer. Her toes can't move out of the pointe position. Her arms bend 180 degrees at the elbow, which, just, ouch. And I mean, she can't move without someone to guide her. Actually, the more I think about that, the more personally appropriate this purchase becomes.
I usually go to ballet on Tuesdays, but, because I couldn't make Tuesday this week, I went on Thursday. The class is essentially the same, only the teacher is different. That, it turns out, is a big difference. A delightful big difference! Tuesday's teacher is extremely talented, and she holds back, moving a notch slower to make sure everyone in the room is as close to her movements as possible. Thursday's instructor, while also being extremely talented, moves slightly quicker, taking the temperature of the room often and generally concluding that she can throw more complex ballet at us. This scared me at first, but the way she made it safe to just have fun put me at ease. At one point, she told us that, today, she was doing motion capture for a video game character she's playing. Apparently, she's, like, a ninth-level boss in a forthcoming first-person adventure. Her character is a vampire ballerina. If I had known ballet had vampire ballerinas, I would have joined a long time ago. The rest of her story was relevant to a movement we were supposed to make with our hips, but I got lost thinking about whether a vampire ballerina really needs the other animal transformations your average Dracula gets, what with the ability to swiftly move as a humanoid and all.
But I snapped back into it, geekery be damned. In our next sequence (is that the right word? "Sequence"?), something new clicked. Before we start moving our bodies, our teacher always moves hers, mapping out the routine we're about to do for demonstrational purposes. I get confused here a lot. I can remember the first few steps of what she does, but the rest piles on so quickly I get overwhelmed. When we start dancing, I usually just pick someone who clearly owns their own tutu and just follow them. Today, though, was different. We have a live accompanist playing the piano (Thursday's has more an old-timey saloon feel, Tuesday's feels straight out of Amadeus). I had been largely ignoring the piano, following along with someone else as usual, until I just sort of...listened. Putting all my attention on the piano, I realized that the music the pianist was playing was designed to tell me the steps. If I just did what the music sounded like - drawing a semi-circle with my foot when the melody swooped, stabbing the ground with my toe when it emphasized a note - the dance would naturally align with what we were supposed to do. It is funny how often your environment is literally designed to guide you, all you have to do is pay attention to all its elements. Once I realized the piano wasn't just there because, hey, where else in New York City are you gonna put this thing?, I understood: you get more from letting go than you do from holding on, more from opening up than from closing off.
For the rest of class, I felt closer to that piano music than ever. That's not to say everything was automatically easy and natural - not even close - but at least my brain was trying to build a new music-body pathway. That only failed me when, for one particular routine, our teacher instructed the pianist to play what I assumed was a classical piece to go with our dance. As the notes were banged out, I couldn't help but think that what was being played was exactly the theme song to Jurassic Park. Nahnahnah-nah-NAH, nahnahnah-nah-NAH... At this point, I was already several dumb questions in, and stopping the action to ask whether this was the thing Sam Neill gazed at a Brontosaurus to felt like a violation of everything that space stood for. I had a little leeway: I told the teacher, and, in-turn, everyone, that this was only my third ballet lesson ever at the top of the class, but I figured any lenience I earned from that was spent on my Avengers: Infinity War sweatpants.
Which: about those Avengers: Infinity War sweatpants: yes, they are from Hot Topic (on clearance, purchased not because I loved Infinity War [I didn't], but because the other clearance sweats were from an anime I knew nothing about, and, well, I can only afford to be a complete idiot about one thing at a time, and ballet was filling that spot). Yes, I bought them because my only other acceptable pants had Millennium Falcons on them and I figured having a change would be good. Yes - this is pretty much in-line with how I dress for anything: learn what's expected and then figure out how I can make that relate to a comic book. But here's the deal: ballet clothing is endlessly cool to me. I love the fact that, regardless of gender, the same, functional, tight clothing pretty much goes for everyone (with the addition of a dance belt in cases where that might apply). That's kind of what I go for in my daily outfits. These sweatpants, for instance, were from Her Universe, a company that markets geeked-out clothing primarily to women. I like mixing clothing like that with my basic, mens-cut black T-shirt. Even if no one can tell I'm blending gendered clothing, I know I am, and that makes me feel really good.
And ballet only scratches this itch even further. For example, there was one dance we did during today's class where our teacher talked to us a little about the history of the routine. She said that it was not a peasant dance, like some of the others we learned. This was a Court dance. It was a dance one might perform while twirling around a royal Court, glass of wine in hand, smiling at suitors, gracefully demonstrating what a well-put-together (most likely) woman they were. I really liked knowing that (despite its problematic historical implications). Don't get me wrong, I still performed this Court dance with the physical fluidity of Gort from The Day The Earth Stood Still, but the gender fluidity of performing a dance created to actualize a specific time period's definition of "femme"! That was great. Sure, any actual King or Queen would've had me beheaded, but if Devo were holding Court, I think I could've been the belle of the ball.
The rest of class flew by. At the end, I talked to my teacher about how to "count" music in order to keep my steps in-line with it better. This feels like a really basic skill, but it is one I do not even remotely have. I'm not musical. I can't remember lyrics or tunes. I'd choose a root canal over karaoke most of the time. But my teacher and the pianist gave me some helpful tips which basically amounted to: listen to ballet-specific music and start counting when you hear the first emphasized note, which may not necessarily come at the very beginning of the song. This made a ton of sense to me. My students are always asking me how to find the main idea of a passage. I try to teach them that a main idea can really be found anywhere, even though it has a handful of places it is often stated. You just have to look for the biggest, most important point of the reading, and then follow that through the rest of the text. That feels a lot like the idea of looking for the first appearance of an arrangement's most audible note, its "main idea" note, and then following the rest of the piece on that note's terms. It'll take practice, but I think I can get there.
I've only been on this journey for three weeks, but one of the things that has made me fall in love most severely has been the warmth of others. As stated above, my teacher and the pianist stayed after class to help me with this concept. While having lunch with another friend earlier today, I learned that both she and I were in the beginning stages of our ballet classes, and comparing fumbles, I think, felt like a great relief for us both. Two weeks ago, another friend sewed my ballet flats while we listened to Swan Lake. (And I paid her, because now, more than ever, we need to pay folx for their labor, friend or not. I'm serious about this.) And even more people (you included!) have listened to me blab in one way or another about all the stuff I've fallen over doing each week. That means more to me than anything. The community makes it all possible, and I'm grateful to everyone who helps me.
After all, Barbie has this, too. She's got Midge and Skipper and Chelsea and of course the ever-present Ken. My teacher, today, mentioned something about her hips, how they open one way and not another. I have no idea what my actual hips look like. The bones. No clue. And there she was, knowing the physicality of her body in such an exact way. I imagine this is even easier for Barbie. Plastic is very well understood and, under the plastic is, well, nothing, so that's helpful. Each joint is pretty well pronounced on the doll, so that takes the guesswork out of a lot of movement. All that's left, for Barbie and for my teacher, is the invisible force that drives their mech suits of flesh and muscle and fat and bone (what? Barbie doesn't have her own, independent thoughts? Clearly you've never stepped on one in the middle of the night). The thoughts and feelings give our physiques meaning and motion and emotion. In this way, it doesn't matter what armor surrounds the ether of being; it doesn't matter what shape that suit takes. What matters is that we each learn the ships we fly, down to the hip bones, so that when we issue it commands from our ever-evolving minds, they can best serve our selves. Some, like Barbie, might have that easier than others, but, for everyone, it might be possible so it must be possible. Myself included.
If you follow Barbie's latest developments, you know she, right now, in 2019, is yet again a ballet doll. It's "Ballet Instructor Barbie." It took her 20 years, but she eventually became an instructor! That time table is impressive, considering, in that period, she's also been a doctor, a vet, a presidential candidate, a robotics engineer, a firefighter, and a pilot. I think I need to retract what I said before: given her community and her unwavering work ethic, I think Barbie is in fact an amazing ballet dancer. And actually, the more I think about that, the more personally appropriate I hope this purchase becomes.
I usually go to ballet on Tuesdays, but, because I couldn't make Tuesday this week, I went on Thursday. The class is essentially the same, only the teacher is different. That, it turns out, is a big difference. A delightful big difference! Tuesday's teacher is extremely talented, and she holds back, moving a notch slower to make sure everyone in the room is as close to her movements as possible. Thursday's instructor, while also being extremely talented, moves slightly quicker, taking the temperature of the room often and generally concluding that she can throw more complex ballet at us. This scared me at first, but the way she made it safe to just have fun put me at ease. At one point, she told us that, today, she was doing motion capture for a video game character she's playing. Apparently, she's, like, a ninth-level boss in a forthcoming first-person adventure. Her character is a vampire ballerina. If I had known ballet had vampire ballerinas, I would have joined a long time ago. The rest of her story was relevant to a movement we were supposed to make with our hips, but I got lost thinking about whether a vampire ballerina really needs the other animal transformations your average Dracula gets, what with the ability to swiftly move as a humanoid and all.
But I snapped back into it, geekery be damned. In our next sequence (is that the right word? "Sequence"?), something new clicked. Before we start moving our bodies, our teacher always moves hers, mapping out the routine we're about to do for demonstrational purposes. I get confused here a lot. I can remember the first few steps of what she does, but the rest piles on so quickly I get overwhelmed. When we start dancing, I usually just pick someone who clearly owns their own tutu and just follow them. Today, though, was different. We have a live accompanist playing the piano (Thursday's has more an old-timey saloon feel, Tuesday's feels straight out of Amadeus). I had been largely ignoring the piano, following along with someone else as usual, until I just sort of...listened. Putting all my attention on the piano, I realized that the music the pianist was playing was designed to tell me the steps. If I just did what the music sounded like - drawing a semi-circle with my foot when the melody swooped, stabbing the ground with my toe when it emphasized a note - the dance would naturally align with what we were supposed to do. It is funny how often your environment is literally designed to guide you, all you have to do is pay attention to all its elements. Once I realized the piano wasn't just there because, hey, where else in New York City are you gonna put this thing?, I understood: you get more from letting go than you do from holding on, more from opening up than from closing off.
For the rest of class, I felt closer to that piano music than ever. That's not to say everything was automatically easy and natural - not even close - but at least my brain was trying to build a new music-body pathway. That only failed me when, for one particular routine, our teacher instructed the pianist to play what I assumed was a classical piece to go with our dance. As the notes were banged out, I couldn't help but think that what was being played was exactly the theme song to Jurassic Park. Nahnahnah-nah-NAH, nahnahnah-nah-NAH... At this point, I was already several dumb questions in, and stopping the action to ask whether this was the thing Sam Neill gazed at a Brontosaurus to felt like a violation of everything that space stood for. I had a little leeway: I told the teacher, and, in-turn, everyone, that this was only my third ballet lesson ever at the top of the class, but I figured any lenience I earned from that was spent on my Avengers: Infinity War sweatpants.
Which: about those Avengers: Infinity War sweatpants: yes, they are from Hot Topic (on clearance, purchased not because I loved Infinity War [I didn't], but because the other clearance sweats were from an anime I knew nothing about, and, well, I can only afford to be a complete idiot about one thing at a time, and ballet was filling that spot). Yes, I bought them because my only other acceptable pants had Millennium Falcons on them and I figured having a change would be good. Yes - this is pretty much in-line with how I dress for anything: learn what's expected and then figure out how I can make that relate to a comic book. But here's the deal: ballet clothing is endlessly cool to me. I love the fact that, regardless of gender, the same, functional, tight clothing pretty much goes for everyone (with the addition of a dance belt in cases where that might apply). That's kind of what I go for in my daily outfits. These sweatpants, for instance, were from Her Universe, a company that markets geeked-out clothing primarily to women. I like mixing clothing like that with my basic, mens-cut black T-shirt. Even if no one can tell I'm blending gendered clothing, I know I am, and that makes me feel really good.
And ballet only scratches this itch even further. For example, there was one dance we did during today's class where our teacher talked to us a little about the history of the routine. She said that it was not a peasant dance, like some of the others we learned. This was a Court dance. It was a dance one might perform while twirling around a royal Court, glass of wine in hand, smiling at suitors, gracefully demonstrating what a well-put-together (most likely) woman they were. I really liked knowing that (despite its problematic historical implications). Don't get me wrong, I still performed this Court dance with the physical fluidity of Gort from The Day The Earth Stood Still, but the gender fluidity of performing a dance created to actualize a specific time period's definition of "femme"! That was great. Sure, any actual King or Queen would've had me beheaded, but if Devo were holding Court, I think I could've been the belle of the ball.
The rest of class flew by. At the end, I talked to my teacher about how to "count" music in order to keep my steps in-line with it better. This feels like a really basic skill, but it is one I do not even remotely have. I'm not musical. I can't remember lyrics or tunes. I'd choose a root canal over karaoke most of the time. But my teacher and the pianist gave me some helpful tips which basically amounted to: listen to ballet-specific music and start counting when you hear the first emphasized note, which may not necessarily come at the very beginning of the song. This made a ton of sense to me. My students are always asking me how to find the main idea of a passage. I try to teach them that a main idea can really be found anywhere, even though it has a handful of places it is often stated. You just have to look for the biggest, most important point of the reading, and then follow that through the rest of the text. That feels a lot like the idea of looking for the first appearance of an arrangement's most audible note, its "main idea" note, and then following the rest of the piece on that note's terms. It'll take practice, but I think I can get there.
I've only been on this journey for three weeks, but one of the things that has made me fall in love most severely has been the warmth of others. As stated above, my teacher and the pianist stayed after class to help me with this concept. While having lunch with another friend earlier today, I learned that both she and I were in the beginning stages of our ballet classes, and comparing fumbles, I think, felt like a great relief for us both. Two weeks ago, another friend sewed my ballet flats while we listened to Swan Lake. (And I paid her, because now, more than ever, we need to pay folx for their labor, friend or not. I'm serious about this.) And even more people (you included!) have listened to me blab in one way or another about all the stuff I've fallen over doing each week. That means more to me than anything. The community makes it all possible, and I'm grateful to everyone who helps me.
After all, Barbie has this, too. She's got Midge and Skipper and Chelsea and of course the ever-present Ken. My teacher, today, mentioned something about her hips, how they open one way and not another. I have no idea what my actual hips look like. The bones. No clue. And there she was, knowing the physicality of her body in such an exact way. I imagine this is even easier for Barbie. Plastic is very well understood and, under the plastic is, well, nothing, so that's helpful. Each joint is pretty well pronounced on the doll, so that takes the guesswork out of a lot of movement. All that's left, for Barbie and for my teacher, is the invisible force that drives their mech suits of flesh and muscle and fat and bone (what? Barbie doesn't have her own, independent thoughts? Clearly you've never stepped on one in the middle of the night). The thoughts and feelings give our physiques meaning and motion and emotion. In this way, it doesn't matter what armor surrounds the ether of being; it doesn't matter what shape that suit takes. What matters is that we each learn the ships we fly, down to the hip bones, so that when we issue it commands from our ever-evolving minds, they can best serve our selves. Some, like Barbie, might have that easier than others, but, for everyone, it might be possible so it must be possible. Myself included.
If you follow Barbie's latest developments, you know she, right now, in 2019, is yet again a ballet doll. It's "Ballet Instructor Barbie." It took her 20 years, but she eventually became an instructor! That time table is impressive, considering, in that period, she's also been a doctor, a vet, a presidential candidate, a robotics engineer, a firefighter, and a pilot. I think I need to retract what I said before: given her community and her unwavering work ethic, I think Barbie is in fact an amazing ballet dancer. And actually, the more I think about that, the more personally appropriate I hope this purchase becomes.
Wednesday, January 16, 2019
Lesson #2
On Monday, I split my pants at the crotch revealing my Spider-Man underwear. If you were wondering just how classy I'm keeping it, well, there you go.
Tuesday (yesterday, as of this writing) was Ballet Class #2. There were a TON of newbies! So many, in fact, that, as I watched them all register with the incredibly kind Ballet School Signer-Upper (official title), I stole a moment or two to feel experienced. "Experienced" is such a relative term, isn't it? Like, a Freshman Congressperson's Deputy Chief of Staff might not be the most experienced politician under normal circumstances, but if the entire government is wiped out and that person is the only one left standing, then congratulations noob: you're the new President! (And of course you have to multiply that person's experience level even more if said person is, in fact, Kiefer Sutherland.) I had been to one class, but all these other people had been to zero classes, so all of a sudden it was as if I'd been doing this for years. "Ah, yes, I remember, distantly, when I was you, writing down my emergency contact on that form." ("Just please don't ask me any specific questions about ballet...")
As class moved along, well, so did I. More or less. At some points (read: exactly two), I actually even felt a little bit graceful. It was as if the notes on the piano moved through me, and my body just acted. Don't get me wrong, it promptly stopped doing that, but, in that moment, I felt what I guess actual ballet dancers must feel all the time: the complete surrender of the physical self to music. Maybe that happens to experienced dancers of all styles. It's such a foreign concept to me. It is not what I'm doing when I'm clunkily bopping to "The Cha-Cha Slide."
But it's actually the less graceful moments that interest me more. In Lesson 2, more so than the sweaty and nervous Lesson 1, I had more time to actually bust out some metacognition on my stumbles. In other words, I had time to think. As someone who teaches students at the developmental level of college reading and writing, the experience of structured stumbling couldn't be more valuable. It is so easy for me to read a handful of pages of a novel and perform some sort of literary analysis on them, whether that's tracking a particular theme, close-reading a character, or linking what I've read to another text. I imagine that's about where my ballet teacher is, too. Whatever moves (is that the right word? "Moves"?) she fires off look incredibly easy because they are incredibly easy. For her. Maybe, someday, they could be that easy for Tom and me, too. (Oh yeah, Tom, my newbie friend from Lesson 1, was back for this class, which, thank God.) But they're difficult for us, just like literary analysis is difficult for my students. For now. When my students express frustration with a text's meaning or struggle to even pronounce certain words on a page, that feeling is no doubt akin to the one I get flopping around in ballet like a trashbag full of live squirrels being electrocuted.
There are environments that can be set up in which each and every one of us would fail. The fact that someone is in that environment when you are not is absolutely no reason to look down upon that person's intelligence. This is the perspective I try to bring into my classroom. The only reason my students struggle with material that I don't struggle with is environment. If they stay in this environment long enough, and fight through the struggle honestly, I am sure they'll wind up better than me. And that's the hope.
When we took our break at Lesson 2's halfway point, our teacher announced that "someone had left their underwear in the lobby." When I went to use the bathroom, I passed said underwear: a small, flowery thing that seemed both functional and TJ Maxx cute. It wasn't mine (though, kick it up a few sizes and give it a little more room, and I don't think I'd object to a new pair), but I knew something about exposed underwear (remember my Spider-Mans?). That seems like what this whole thing takes: the ability to nonchalantly lose your underwear. To share that which you wear closest to your body, under enough layers to hide it from everyone except those who know you most intimately. To strip away coverings. To stand naked.*
When we returned from the break, there was more jumping, more stumbling, more positioning. In that, though, I felt wisps of balance. Hints of grounding. An eagerness to fail more.
(*NOT literally, of course, at least in situations where you don't have the expressed consent of everyone around you. Please don't randomly take your clothes off on the subway.)
Tuesday (yesterday, as of this writing) was Ballet Class #2. There were a TON of newbies! So many, in fact, that, as I watched them all register with the incredibly kind Ballet School Signer-Upper (official title), I stole a moment or two to feel experienced. "Experienced" is such a relative term, isn't it? Like, a Freshman Congressperson's Deputy Chief of Staff might not be the most experienced politician under normal circumstances, but if the entire government is wiped out and that person is the only one left standing, then congratulations noob: you're the new President! (And of course you have to multiply that person's experience level even more if said person is, in fact, Kiefer Sutherland.) I had been to one class, but all these other people had been to zero classes, so all of a sudden it was as if I'd been doing this for years. "Ah, yes, I remember, distantly, when I was you, writing down my emergency contact on that form." ("Just please don't ask me any specific questions about ballet...")
As class moved along, well, so did I. More or less. At some points (read: exactly two), I actually even felt a little bit graceful. It was as if the notes on the piano moved through me, and my body just acted. Don't get me wrong, it promptly stopped doing that, but, in that moment, I felt what I guess actual ballet dancers must feel all the time: the complete surrender of the physical self to music. Maybe that happens to experienced dancers of all styles. It's such a foreign concept to me. It is not what I'm doing when I'm clunkily bopping to "The Cha-Cha Slide."
But it's actually the less graceful moments that interest me more. In Lesson 2, more so than the sweaty and nervous Lesson 1, I had more time to actually bust out some metacognition on my stumbles. In other words, I had time to think. As someone who teaches students at the developmental level of college reading and writing, the experience of structured stumbling couldn't be more valuable. It is so easy for me to read a handful of pages of a novel and perform some sort of literary analysis on them, whether that's tracking a particular theme, close-reading a character, or linking what I've read to another text. I imagine that's about where my ballet teacher is, too. Whatever moves (is that the right word? "Moves"?) she fires off look incredibly easy because they are incredibly easy. For her. Maybe, someday, they could be that easy for Tom and me, too. (Oh yeah, Tom, my newbie friend from Lesson 1, was back for this class, which, thank God.) But they're difficult for us, just like literary analysis is difficult for my students. For now. When my students express frustration with a text's meaning or struggle to even pronounce certain words on a page, that feeling is no doubt akin to the one I get flopping around in ballet like a trashbag full of live squirrels being electrocuted.
There are environments that can be set up in which each and every one of us would fail. The fact that someone is in that environment when you are not is absolutely no reason to look down upon that person's intelligence. This is the perspective I try to bring into my classroom. The only reason my students struggle with material that I don't struggle with is environment. If they stay in this environment long enough, and fight through the struggle honestly, I am sure they'll wind up better than me. And that's the hope.
When we took our break at Lesson 2's halfway point, our teacher announced that "someone had left their underwear in the lobby." When I went to use the bathroom, I passed said underwear: a small, flowery thing that seemed both functional and TJ Maxx cute. It wasn't mine (though, kick it up a few sizes and give it a little more room, and I don't think I'd object to a new pair), but I knew something about exposed underwear (remember my Spider-Mans?). That seems like what this whole thing takes: the ability to nonchalantly lose your underwear. To share that which you wear closest to your body, under enough layers to hide it from everyone except those who know you most intimately. To strip away coverings. To stand naked.*
When we returned from the break, there was more jumping, more stumbling, more positioning. In that, though, I felt wisps of balance. Hints of grounding. An eagerness to fail more.
(*NOT literally, of course, at least in situations where you don't have the expressed consent of everyone around you. Please don't randomly take your clothes off on the subway.)
Wednesday, January 9, 2019
Lesson #1
I have no idea who I am. I pick up little hints along the way, though. For example, I played with action figures as a kid (and, like, now), so I based all my academic research on that and grew my toy collection into the thousands. So I guess I'm the type of person who does that. I'm terrified of flying, so I spent years learning about every plane crash ever and deeply entrenching myself in a loving and limitlessly kind group of pilots who podcast about their experiences. I'm less terrified now. So I guess I'm the type of person who does that. I write plays, obsessively. I considered myself cis male until I asked myself why I almost always broke down crying when I heard the vocabulary of being non-binary, daydreaming about whether I could adopt that beautiful language that moved me so much for myself. I can. I did. Put together, that gives me a little guidance about the character of Me, but a lot is still a mystery, and a lot more keeps changing. All the time.
I am deeply uncoordinated. If someone tells me to go left, my dyslexia would tell me to go right if my ADD didn't usually intercept that and tell me to go oh look shiny! Whenever I go somewhere with the caveat, "And there will be DANCING!" my first thought is, "F*ck. Me." I hate moving my body. For the longest time, I hated my body. I was an overweight teenager, but that in and of itself is not reason to hate one's body. I was conditioned to feel bad about being overweight, though, so I did. To the point of an eating disorder, which caused the scale to tell me I was dangerously underweight, but the mirror to tell me, hey you're still fat, and you should still feel bad about that. I did not have positive body role models. I had Star Trek, where every hero fit miraculously into a tight jumpsuit. (When Gates McFadden and Marina Sirtis talk about how awful that was, part of me feels seen, but most of me feels horrible for them.) Lately, I've been a little more comfortable in my skin, but largely because I've become better at ignoring the voice in my head that shames me. The voice has not gone away.
By now, I'm sure you're thinking that this provides the ideal conditions for me to sign up for a ballet class! In all honesty, ballet is something I've wanted to try for a long time. Like I said, I am in no way graceful, but ballet just always looked so...cool. I saw Black Swan. Those people could really move! (Was that not the point of that movie?) Even the idea of an elderly French person barking orders at me felt exciting. And now, with my aforementioned gender questioning, ballet took on a new meaning altogether. Part of my own gender exploration has been the embrace of things I've perceived to be "femme." Clothing, make-up, specific female-character costumes. That sort of thing. Ballet falls into this category of entirely socially-constructed "femme" stuff that obviously has no real bearing on anyone's gender. Ballet has no gender, and ballet dancers are of many genders. The ability to perform graceful dances to a delightful piano melody does not "make" one female, male, or anything else. All I mean to say here is that, to me, ballet, and the form that comes with it, excited me for many reasons, one of which being the fact that a lot of women I know have done it, imbuing the art, in my mind, with an air of femininity I very much wanted running through my ever-masc body. My mom was a dancer, in fact. I was hoping some of that would be genetic. Spoiler alert: it is not.
When I showed up for Lesson #1, I asked a group of ballet-looking people if I was in the right place. I was. They all seemed perfectly nice, but a cluster of them clearly knew each other from previous years, so they were engaged in their own conversation. Totally understandable. I'm good at breaking into conversations when it's about stuff I know - comics, toys, sci-fi - but when the topic du jour is a breakdown of the moves that make up a routine I'd have to spend an evening figuring out how to spell, yeah, color me sheepish.
A guy who I'll call Tom (to protect the innocent) soon said, "It's my first time, too." Thank God. We both had that "first time" look down. You know the "first time" look. Making love with your socks on. Holding the golf club with one hand. Ordering a "Large" at a Starbucks. If you do all three of those things at once, you pretty much have our portrait painted, figuratively speaking of course.
I signed a newbie form that included a space for my emergency contact. I guess that's there out of concern for my health, but I'm a little bit convinced it's there for the other students' health. "If this person's ineptitude becomes too distracting, we'll have to call your mother to come get you." I dutifully put down my mom's phone number.
I meant to Google what to do with the straps on my Size 14 Amazon-ordered ballet flats, but I forgot to do that, so I asked the person to whom I gave my newbie form. She laughed, but not at me. It was the "I remember seeing people as confused as you once!" laugh. That actually made me feel better. Like, maybe this isn't so intuitive? She showed me how they went, and that they needed to be sown in place. Yet another area where I'm up the creek without a paddle, but I figured, hey, I'm already trying one new thing, what's one more? She said I could just tuck them in for today, and I was glad she said that. If she gave me a needle and thread, I think she would have had to call my emergency contact.
Once I got in the studio, the whole event became an exercise in silencing my inner Shame Voice. If I can barely look at myself in the mirror without hearing the Shame Voice, well: this whole place is mirrors, so draw your own conclusions. And I want to be clear: the Shame Voice is all me. Everyone I encountered was genuinely nice. The instructor was amazing! I'm still baffled by how quickly she could move her foot. Think, like, Kirby when Kirby wants to rapid-punch attack, except my teacher was not a round, pink blob. In fact, she was the opposite of that, and I don't say that to shame or flatter, simply to indicate that, though she possessed one Kirby-like skill, my teacher is not literally Kirby, for anyone who was confused. In other words, she clearly knew her stuff. Thankfully, though, she was also willing to take pity on me and Tom by slowing down at certain points. I think she made a non-verbal compromise, a compromise I'm very familiar with when I'm teaching my English students. "Okay, if they can just do, like, 60% of the stuff and look earnestly confused through the rest, we'll call that a win." I think I kind of nailed that?
At the end of it all, an hour and 15 later, I signed up for the 10-class card, giving me nine more times to rinse and repeat. I welcome those chances. I did horribly this time around, but if I just tell myself I won't do any worse than I did today, I guess that'll be all right. And I did, at times, between the thoughts of "Just look at how she's doing it and try to do that!" and "Wait she knows I'm just staring to try to figure out how to do that, right?" (yes, consent was established for this purpose - important!) and "Really, self? You know you're the only one here with Millennium Falcons on your pants, right?," feel a taste of what I had hoped for: a sense of fluidity - fluid movements, fluid genders, fluid existence. But I'm not going to pretend I've got some big existential revelation now. As of today, I'm one person who has taken one ballet class. Next week, I'll take another. I have no idea who I am. But I also have no idea how to ballet. So I guess I'm the type of person who thinks about that.
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