Drawn to Dance

I took up dance fairly late in life for various reasons, despite having dreamed of being a ballerina from a young age as a lot of  girls do. I even had the skinny Dream Dancer doll who twirled around on her own little stage. She held my thoughts for just moments, before I went off to emulate her poise. 

I still remember prancing around the livingroom/yard/backlane in my prized homemade tutu, which I recieved one fabulous Christmas morning. I was a little tubby and wore high white socks with my little silver slippers. I think part of my look at the time was a spangly batton which I twirled with frightening enthusiasm. I guess with my whimsical way, that may not surprise many people. 

I trained for a while in my early twenties in ballet, contemporary and jazz. I subsidised this with various workshops in things varying from african dance to burlesque. Strange for a shy girl, right?  Anything that got me moving. Lunchtimes were colourful, with some characters feeling compelled to recreate some kind of "Hot Lunch Jam", maybe more tepid than hot.

 It felt good to a point, but dance was a hard career to persue both physcally and mentally. Some will give you a differing opinion, but it is competetive and it can be harsh. There were bullies and tears, eating issues and fears. I'm not the first and won't be the last to have discovered that. 

I eventually left to go on to something a little less intense, maybe something just as scrutinised, but still very creative. Something where if I had a mediocre day it didn't matter too much. Well kind of, you know what it's like when you're intent on perfection.

I studied art and design and wanted to use that experience with dancing within my art. The movement and fluidity, themes, edges, personality. My dissertation on creative processes was even  based upon the work of composer John Cage and choreographer Merce Cunningham's use of the I ching. Using the I ching (the chinese book of chance), they deteremined the way the score was set and the order of the choreography. I was in my element, successfully I had managed to merge and creatively present my two passions in a way that most of the other students would never even think about. 

I still dance occassionally these days, quite a varied repetoire. A bit of bhangra/bollywood, interjections of street, musical theatre, ceroc. I also promised a friend I'd take him salsaing soon too! It's good for the soul and I have to say I feel amazing now when I dance. I care less for a start! If I go wrong, it's no biggie and invariably I end up at the front of the class, not cowering at the back. I'm stronger and dance with energy, I move so much more confidently through my extensions and turns. I have had it in the neck from a couple of male leads who just can't take the pace, especially in ceroc.

"You turn too fast, you're out of control!" 

If I'd wanted to dance with a snail, I would have gone to the garden and besides, have you never heard of spotting? What do they know! I might never be technically perfect, but we'll leave that to the professionals.

On my long list of to do's I'd like to spend some time studying the dancers form again, translating it simply and elegantly. Less is often more. 

This is a piece I adapted several years ago, it's a little worn and smudged now. Loose and more so suggestive than being greatly detailed.