An inspiring post from Therea Howard’s My Body, My Image;
I write to you today to apologize for, and to explain (though I am sure that you already know, as you are the more authentic and intuitive part of us) what I have put you through. I make no excuses, I take the responsibility for the physical, emotional and spiritual pain I have caused you throughout our years together. I could blame it on youth or outside influences and that would be true, but then again you already know that because you have been there through it all. However I feel that would be a cop out. I am here to take responsibility for my actions and non- actions. I am no longer a child, I am a freethinking, independent woman, and I am doing my work. This you also know as you have been there as I have matured and grown into a greater understanding and appreciation of myself, and for you as a form. When I think back to the times when I cursed you, did not talk to you, could not bare to look at you, the times when I was ashamed of you and more ashamed to be seen in you I am sadden. For that I am sorry. Though harsh words got us here, I know that there are no words that can be uttered or written that can undo the damage that has been done. They stay like welted brands on the parchment of our soul, to be carried with us, all the days of our life. I only hope you can forgive me.
Where I should have been awed by your majesty and perfection in the constant rigors of the involuntary actions you perform: heart-beating, respiration, blinking, the sensory factors you house and manage, not to mention mastication, defecation, and all the other “ations” on top of all of that I actually asked you to turn-out, plié, jump, pirouette, and battement, and without complaint, and for the most part a great deal of alacrity you did it! I could feel that dance was a joy to you; it felt good to move through space with the music, with a sense of mastery and physical understanding. It was in those moments that we were both at our best. The feeling of a grande jeté, the sensation of turning (though it was always unnerving to me) was wondrous, there is nothing in the world that feels as divine and delicious as a beautiful adagio. When we danced we felt beautiful, and complete, that is until I looked in the mirror and the image reflected did not resemble the feeling of beauty I felt in my soul, and because there was no one else, nothing else to blame, I took it out on you. My thighs were too thick, my butt too big, my feet not good enough, I was not pretty, or I did not look like her (whomever she was). Suddenly almost without warning the spirit that just moments ago had taken glorious flight was now grounded in the corner, cowering beneath the mental verbal lashing I unleashed.
Seldom have I thanked you. Seldom have I acknowledged that you were consistent and trustworthy. Instead of praising you for your strength and power I chastised you for looking too strong, it never occurred to me that I was rarely sick or injured because of your strength. I let others tell me things about you, I believed the horrible things they said and instead of coming to your defense, I bought into their beliefs and made them my own.
Oh I wish that you had a voice, one independent of my own, perhaps then I would have known more quickly what tyranny I was forcing you to live under. Instead you, like a child worked harder for my acceptance, to please me, to be better, to be what I wanted to be. Never did you suspect that it was a fruitless endeavor for there would never be any pleasing me, because the problem was not with you as my Body, the problem was in my head. The problem was me.
Most humbly,
Me
Scott Hamilton’s “The Great Eight”
Based On Figure Skating’s Figure Eight:In The Great Eight, Olympic Figure Skating Champion Scott Hamilton shares eight secrets that have helped him find happiness in life
Hamilton says the following about the book:
“Skating taught me how to be happy. I have always kept these eight as my own private, personal secrets that I practiced daily with repetition, focus, and discipline. Now I want to share them with the world.”
#1 - Fall, Get Up, and Land Your First Jumps:In this chapter, Scott explains the skating is not easy. He says no one can put on a pair of skates and skate instantly. He says that even though skating is difficult at first, that sticking to it has its rewards. He says that some people don’t try new things because they are afraid of falling. He believes that not giving up when things get hard is essential.
#2 - Trust Your Almighty Coach:Hamilton explains that a figure skating coach is almost like a god to a skater. If a skater doesn’t trust his or her coach, he cannot function in the sport. The same goes in life. Hamilton believes that every individual should trust in God. He says “you can’t do it alone” in skating; the same goes in life.
#3 - Make Your Losses Your Wins:Although Scott Hamilton won the Olympics and has gained much fame, he has suffered many losses. His close friend, Olympic Pair Skating Champion, Sergei Grinkov, died suddenly, and also Hamilton had battles with cancer. He has been inspired by others who have experienced loss, and recommends that when you are discouraged to move forward.
#4 - Keep the Ice Clear:In Scott Hamilton’s opinion, conflicts must be resolved. He suggests going directly to a person (or persons) that may have done something that bothers you. If an unhappy situation is addressed, good will follow. He says, “I learned the hard way just how toxic it is not to keep the ice clear — to have open, honest communication about those things that bug you, hurt you, scare you — in your life.”
#5 - Think Positive, Laugh, and Smile Like Kristi Yamaguchi:Kristi Yamaguchi is the 1992 Olympic Figure Skating Champion. She smiles even when things get hard. Hamilton uses her as an example. He believes that smiling and laughing are essential ingredients as far as happiness goes. He recommends to think positive even when negative situations come your way.
#6 - Win by Going Last:In figure skating competitions, the person that performs last sometimes has an advantage. Using that example, Hamilton explains that putting others before yourself is a “recipe for success.” He believes it is very important to compliment others. He believes in thanking people and praising them. He believes in helping others. A “me first” attitude does not make anyone happy.
#7 - Learn a New Routine:Every year, figure skaters learn new elements and put together new programs. Change is essential in order for a figure skater to improve at the sport. Scott believes that change is good. He recommends to constantly make an effort to try new things and make changes in your life.
#8- Stand in the Spotlight:Scott Hamilton says that YOU are the key to finding happiness. Like a champion skater who is in the spotlight and is disciplined, dedicated, and focused, you need to apply the principles suggested in his book and use them to make yourself happy.
As Black Swan so clearly demonstrates, one simply cannot “act” being a ballerina. It is a state of being, of feeling, of mind, an externalized expression of internalized discipline, faith, and good manners.
Oscar and audiences may love Black Swan, but one former New York City Ballet dancer thinks it’s nothing more than “balletploitation.” Author Toni Bentley explains why Darren Aronofsky’s psychological thriller is insultingly off pointe.
I have tried to avoid writing about Darren Aronofsky’s pirouetting parody Black Swan, but, having been a professional ballet dancer for George Balanchine, I keep getting asked what I think of the movie. And now that it has garnered a huge audience, numerous passionate fans and five Oscar nominations, it is time to put on my toe shoes, wrap my ribbons, paint on my four-inch black eyebrows, lace-up my wet-tutu suit and take a grand jeté into Aronofsky’s swamp. I mean lake.
I first saw this film at a screening last November, before it opened to the public. I had high hopes: Aronofsky had done a great deal of homework on the “ballet world,” consulting with many dancers, myself included. Reading the script a year or so previously, I’d been baffled by its reductive simplicity. But, hey, I thought, what do I know about script writing—and Aronofsky and his people seemed like earnest folk. Read more…
Abeni Cultural Arts presents “Visions”
Journey through history with Abeni Cultural Arts as it presents “Visions: An Odyssey in Black Dance.”
Through African, modern, contemporary, jazz and hip-hop dance, the troupe will present an epic vision of African-American history in conjunction with the 22nd annual Savannah Black Heritage Festival. Read more…
Many young girls(and boys) keep a journal of some type, usually to vent feelings or write about important events. It’s a great tool for self expression. Likewise, many dancers—regardless of level or age—keep a dance journal to remember their corrections, track their progress, and vent their feelings and frustrations about ballet. Read more…
CBS “Sunday Morning” producer Judith Hole sat down with actors Patti LuPone and Laura Benanti, the Tony Award-winning stars of the 2008 Broadway revival of the classic musical GYPSY to discuss the show and its real-life characters.
In the expansive interview, the two stars discuss the musical and the 100th anniversary of the birth of Gypsy Rose Lee.
Asked if the musical made Rose more sympathetic than we sort of know [of her], LuPone responded, “But how do we know that Rose was not sympathetic except for what has been portrayed in the musical? I mean, did anybody really know who Rose Hovick was before they wrote a musical called “Gypsy”? I don’t think so. Everybody knew who Gypsy Rose Lee was. She had her own television show. She was a famous stripper. She was the darling of the literary set in New York, at a particular time. And there were rumors about Rose, [but] I don’t think that anybody really knew who Rose Hovick was until the musical. And I think that gave her the reputation - or rather, that depicted her in a way - as a monster. Now, if you read Gypsy’s book or we read June Hovick’s two books or if you read “American Rose,” they all depict her - well Gypsy Rose Lee is a little more gentle with her mother. However, she does say the same things that June says and that [Karen Abbott] that wrote in “American Rose,” that she got what she wanted however she could. And there was brutality. She had a brutal side. So they all say.”
Hole follows up with Benanti, asking “What attracted you, Laura, to Gypsy? I mean, a lot of the play, the character is awkward, sort of untalented. Kind of a schlump.”
Benanti replied, “That’s what attracted me to it. The idea of being able to have such… a fantastic arc. You know, so often when you play an ingýnue, you know, in whatever piece - theater, TV, film - it’s kind of one-dimensional, and you’re just wide-eyed and blinking at someone, and then someone saves you. And so, what I love about Gypsy is that she grew up an awkward tomboy, ignored - this is my perception of it, but, you know, ignored by her mother. You know, completely in the shadow of her tiny, adorable sister - and with the help of her mom morphed into this like vulpine creature, who is clearly so smart. Had no education. I was really drawn to being able to play a character who goes so far. Who has such a giant arc. And who I always thought had so much heart and determination and drive and intelligence. To be able to captivate an entire room of not only men, but women, without ever really showing your body. I mean, I just think that she was a genius. So, to me, it was like a great challenge to play her. And, of course, to work with Patti is one of the other reasons why I wanted to do this.”
To read the interview, click here.
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Ballet excels at the tragic love story, and there’s nothing like an anguished heroine. But today we’re giving it up for the ballets that end in smiles and a virtuoso pas de deux. Let’s hear it for love gone right! Read more Here
Via @DanceChicago @chicagodance
By Nancy Wozny
Robert Patman and Houston Ballet principal Mireille Hassenboehler dance at their wedding.
Photo courtesy Hassenboehler
Romances between dancers feel natural, almost inevitable. You’re cloistered with your fellow company members all day in the studio, rehearsing swoon-y ballets, so why not marry one of them? Relationships with “civilians,” however, seem more complicated: Figuring out scheduling is stressful, eating habits can differ and one partner probably can’t tell a tendu from a tour jeté. Yet many dancers have found that dating a non-dancer keeps them grounded in the real world. At the end of the day, the things these couples don’t have in common are more of a blessing than a curse. Pointe spoke to four dancers about the special chemistry they feel with their regular guys. Read more… Here
