Archives for August 2015

Personal Stories: Army to Arabesque

Editor’s note: This is our first user-submitted post! Want to submit your own? Check out here!

My story is one part satisfaction, one part regret, and hopefully one part encouragement!

I took my first ballet class at age 27, after returning from 18 months in Kuwait in the Army. My sister grew up taking ice skating and some ballet, but I never would have thought of trying ballet as a teenager for fear of what my family and friends would think. After graduating West Point and serving in a wartime environment, I felt I had enough “man cred” to go try something very different than the sports or music I had grown up doing. Plus I was moving to a new city where nobody knew me anyway.

I had seen the Nutcracker a couple of years before, and thought more seriously about giving it a try once I was finished with the Kuwait tour and back in the US. If nothing else, I would get more flexible, strong, and work new muscles that weren’t used in the running or weightlifting which I would usually do. Plus meeting some people in a new city where I didn’t know anybody couldn’t hurt.

I joined a class at an arts center in St. Louis that had a lot of dance and other performing arts classes. The teacher was great – it was more of a beginner-intermediate class with some challenging stretches and pilates exercises in between barre and center. My legs and back felt like a million bucks the day after classes. This studio had a teen performance company, but no adult performing opportunities as far as I knew. Not that I was good enough necessarily, but as I approach age 40 I wish I would have tried harder to improve enough to have a performing role in something, somewhere, no matter how small. If I had it to do over again I would have tried to become a regular student at studios with regular performances or recitals and see where that ended up.

I read many stories where guys are in demand and get a lot of encouragement wherever they start classes, but I never really experienced it myself! Maybe I was no good, too old, or just at a studio where adult classes were more for fitness rather than any other goals. Over a couple years I think one other student told me that I was pretty good, a couple of them wondered why I was taking the class, and another older student said I had a lot of courage (I don’t think she was being complimentary – it was more in the style of “You have a lot of courage to wear THAT in public…”) I did overhear some students once say they liked it when guys were in the class, so that was good.

When you are usually the only guy, you sometimes feel like you are invading the ladies’ space and that some of them probably wish you weren’t there. I had to take a semester off after a severe ankle sprain I got while running on city streets near potholes, but I still managed about six semesters before getting married and stopping ballet. I had my girlfriend come watch one of the observation classes, but she didn’t like the idea of me doing ballet—it was a big turnoff for her, so I stopped as we got more serious. At the time I didn’t think I would miss it much. In hindsight I wish I would have made it more clear that I enjoyed it and wished to keep doing it.

Now that I have a few kids I don’t have the time or money for regular classes. I figure my daughter is a more worthy recipient of dance classes right now anyway, as her whole future is in front of her. But, I do manage to take drop-in classes when I am out of town for work, and I look forward to the opportunity to do so. I routinely visit the DC area and have found some good adult classes at Maryland Youth Ballet, Russell Ballet and Kintz Mejia Ballet. In other jobs, I would visit studios in Kansas City and San Jose. The teachers have been good and encouraging and I get something out of the classes every time. I also sneak in some practice at home when I can.
In order to get any better I realize I need to work hard at my weaknesses – for years I have been terrible at pirouettes, but last week I did some pretty good ones at home, much to my surprise. We’ll see if I can replicate them in the next class!! In recent weeks I lost a few pounds, done more plank exercises, and also did more hamstring curls at the gym—an exercise I hadn’t done in years. In high school I found the hamstring curls seemed to help my balance as a baseball pitcher, so maybe they help balancing in ballet? I also spotted a little differently – I think I had been waiting too long to turn my head, and lost balance as a result. Now I move my head earlier to get my spot, and my body follows better, I think. If I could routinely pull off single pirouettes without falling out of them I would be thrilled.
What else am I working on? Turns, in general – I can do pique turns all day but pirouettes have usually been awful, and I could never figure out why. Also my turnout is horrible once my legs are straight – maybe it is my hip structure. I’ve tried every different kind of stretch that I can find for turnout. Once I start a plie my turnout is much better. And, I would like to have better balance across the board. I have a very hard time balancing on releve on a single foot, but I can hold two-foot releves all day. (If anyone else has suggestions on improving at these particular things, let me know!) I also seem to have trouble remembering complex combinations in some of the classes I take – I lose track what direction to turn, what foot should be in front or where my arms should be. I usually have to follow someone else, but then I’m slightly behind the beat. Plus, being rather tall with long legs I have a hard time keeping up with quick leg movements anyway. Maybe this comes with regular practice, or maybe trying a new class after a long day at work when the brain is already fried is a bad idea!
Am I glad I got up the courage to try ballet? Yes, very much. It was fun doing some of the steps with my little girl when she was taking her class. I also have a MUCH bigger appreciation for what I used to call “girls stuff” growing up – ballet, ice skating, gymnastics, things like that. Some of the things these athletes can do is mind-blowing. Its more impressive to me than lifting 400 pounds or running really fast, actually. I grew up playing baseball and these seem much harder. I guess it comes down to what you are raised doing – hitting is easy for me, but maybe not for someone who has danced their whole life. It’s just impressive seeing what other people can train their body to do. To other adult beginners – if you like it, keep doing it! If you want to perform, go find a place with opportunities and work towards them. Even if you try and fail, it’s better than not trying at all!

How Hemp Oil can improve your recovery time [review]

This is a sponsored conversation written by me on behalf of CW Botanicals. The opinions and text are all mine.

Hey readers! I know its been awhile since I’ve posted, but it’s because I’ve been super super busy, and working on getting back into running, in addition to our crazy dance schedule. We had a performance back at the end of July and I’ve been working pretty hard.

20150830_103725I was recently offered a chance to try CW Botanicals Chocolate Mint Hemp Oil (note: Hemp oil is completely legal and safe for over-the-counter use as it is derived from hemp, not marijuana or medical.) I’ve always been interested about the possible benefits of Hemp products when I see them when out shopping and this was the perfect opportunity!

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This is a sponsored conversation written by me on behalf of CW Botanicals. The opinions and text are all mine.

 

Boys Can Do It Too: Interview with Danny Perez and Chris Miller

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        Danny Perez (left), Christopher Miller (right)

These guys can probably jump higher than your favorite basketball player and they can lift you over their head. They’re not afraid to tell you they’re ballet dancers.

Danny and Chris are full-time students at Santa Fe College in Gainesville, Florida. They take technique classes every day (on top of their academic classes), and they perform with the Dance Theatre of Santa Fe.

“There are days when we dance more than we sleep,” says Chris. “When we’re rehearsing for a show, it’s like – wake up, dance, eat, dance, sleep, repeat. It’s hard work, but it’s so rewarding.”

They were both recently accepted to the Bachelor of Fine Arts in Dance program at Florida State University.

So, what do you guys do with dance?

CM: I’ve done a lot of freelance work with companies in Tampa and Gainesville, and I’m always performing with DTSF [Dance Theatre of Sante Fe]. What I’d really like is to become an equity performer, or to have a contract with a company. Right now I’m working on finishing my degree at SF and then moving to Tallahassee to attend FSU.

DP: I have one more semester with Santa Fe before I start working on my BFA. Eventually, I want to do the same thing: company or equity performer. Really, it doesn’t matter to me where I am or who I’m with as long as I get to keep dancing.

How is ballet different for men vs. women?

DP: Men are like a commodity in ballet because there aren’t a lot of us. Teachers usually want to take advantage of the fact that we can partner so we sometimes wind up doing more than the girls.

CM: Our training is also a little different. There are some steps that are traditionally done only by women and some that are done only by men. Men are expected to jump higher, and we definitely need more upper-body strength because we need to be able to lift. Sometimes we get to take special men’s classes just to focus on those areas.

What about the stigma of ballet being for girls?

DP: Honestly, when kids used to tease me for doing ballet, it motivated me. I used it as ammunition to work harder and get stronger. If you’ve ever taken a ballet class then you know it’s not for wimps. Every single class, guys and girls are walking out drenched in sweat, and you’re sore pretty much all the time. It only looks so easy because we work so hard to make it that way.

CM: And think about it, you’re catching and lifting beautiful women over your head. Name something more manly than that.

What is it like being the minority in your field?

CM: It’s awesome. Strong male dancers are always in demand and there’s always an opportunity to partner someone. I love when there are a lot of guys in my class, though. You can make more interesting choreography when there is a big group of guys and girls.

DP: I think more is expected of us because we’re so few. We have to be able to do what girls can do and we also have to be ready for anything. When someone is depending on you to lift them, they’re trusting you with their career. It’s a lot of focus.

What made you decide to make dance your career and not just a hobby?

CM: For me it was when I got to Santa Fe and saw all the different kinds of opportunities that are out there for dancers. I’ve always loved dancing and I knew I wanted to keep doing it as an adult, but I didn’t really become set on finding a career until I met my teachers at SF.

DP: I’ve just always loved it, I don’t know what flipped the switch. I feel good when I’m doing it and I learn about life from dance. I have a tattoo of this quote my brother made me, and it describes how I feel perfectly: “Dancing is the most exciting form of art. The stage is your canvas, your body is your brush, and your heart is your color.”

Do you have any advice for guys who want to start ballet?

DP: Do it! Just find that thing that motivates you and use it to make yourself better. Focus on what you like about dancing and why you do it instead of what people might think of you. Then when you’re doing awesome ballet stuff that most guys can’t do, you know your passion is what got you there. And hey, girls love that drive.

CM: I say definitely try it if you think you’d enjoy it. I started when I was 10, an age where it was so uncool to be a ballet dancer, and I was surprised by how much I liked it. How I felt when I was dancing made me not care about anything outside the studio. Don’t get intimidated by what people might think and you might find something you really like.

Personal Stories: My first few months in ballet

Editor’s note: This is our first user-submitted post! Want to submit your own? Check out here!

There are many ideals to learn from ballet. I first started researching the topic in hopes to prolong the demise of my decaying body. I was a serious couch potato. I’ve just recently converted my desktop computer to a standup ‘workstation’ (it’s still just a big screen to play video games and watch TV shows on). All in all, I feel better and love what I do, which is constantly practice ballet.

The first ideal in ballet is posture. Core strength is EVERYTHING in ballet. Thus, the most important part of dancing is to activate your core. Spine stabilization allows for other muscles to be used for range of motion to lift your legs past 90 degrees, or just to balance better.

However, the classical teachings of ballet are still in practice, and I believe it is time to usher in a new wave of thought, that abdominal bracing is superior to abdominal hollowing, most notably praised by Dr. McGill. As an adult, I’m most likely not going to dance professionally, so the idea of sucking in your belly button to look pretty (and classically activate your core) are obsolete, according to recent studies. However, showing my beer belly (because I’m 30 years old and like my craft beers) is much more beneficial to spine stabilization than I ever thought possible. I use abdominal bracing when I bend over to brush my teeth over the sink. The entire concept is a revolution to the idea that we would forever be known as hunch-back computer homo sapiens. It could very well be the cure to lower back pain in the majority of adults.

The second ideal in ballet is flexibility. Witnessing those young dancers hyper extend their splits, is almost as psychologically painful as watching The Deer Hunter for the first time.

Jules Mitchell, who is developing the concept of stretching in her master thesis (soon to be a book), processes the exact nature of muscle tissue, down to sarcomeres and myosin. The idea of “tightness” is a fallacy we perpetuate over and over again when in fact we really just need to build strength in the muscles to increase range of motion. Mitchell also adds that regular stretching is not completely bad and that it does add a comfort level, so not to retreat from our maximal range of motion; however, the classical thought, yet again, could be revolutionized by this new way of thinking.

So, I’ve been researching and practicing dynamic stretching. Leg swings, arm circles, squats and lunges, all to help loosen major joints. It’s now known, that passive stretching can decrease your strength in those muscles. Thus, picture yourself doing the splits before class, and then getting yelled at for not going higher than 45 degrees in your developpe. I’ve still been putting off actually pushing my comfort level to increase my range of motion, but at least I know the proper steps, and willing to at least try.

The third ideal in ballet is to love ballet. My beginner class teamed up with the intermediates, and I was so jealous that they could so easily follow the routine. Of course, they’ve been at it longer than I, but WOW! They do the little mimicry with half motions of their arms and legs to get the muscle memory going, and all of a sudden, they can either hear it, see it, or feel it. Me, on the other hand, I was just trying to follow them. I think the ideal to love what you do, is paramount to everything in life.

I might look kind of odd when I’m standing at work doing rond de jambe, and releve, but I love ballet! It is such a beautiful display of art, that when standing at my standing ‘workstation’ I find myself in arabesque, and perfecting my port de bras… and I could care less who looks in on me dancing to my heart’s content.