Due to a day’s worth of interviewing folk (which was fun, but exhausting), I missed most of my first ballet class, did a quick barre of my own to warm up and was then launched into a bit of pirouetting.
Here are my pirouette problems:
I’ve discussed the important need for a technique, known as spotting, before, and unfortunately, that requirement hasn’t changed, and neither has my skill-level.
Whilst turning one spins, on demi-pointe, on one leg, whilst the other is bent and turned out, with the toe pointed and touching the knee of the weight-bearing leg. The idea is that one keeps that placement for the entirety of the turn, but currently, I am not.
Today, Julia (my teacher) described my arms as being ”Fosse-like’. Fosse, was a choreographer, perhaps most famous for Chicago, and fond of a particularly sharp, deliberate use of arms, creating angular shapes. To have one’s arms remarked upon in such a way would be all very well if I were currently starring in a production of Chicago, or even if the Fosse-ness of them was intentional, but it isn’t. The reason for it is not intention, but tension. Whenever I am concentrating on legs or head, my arms pay the price, and Fosse-ness arrives, all stiff and unforgiving.
However, the major problem with all of this is that I cannot work on all three of these things at once. If I concentrate on the head, the leg is gone; if I concentrate on the legs, the arms are crazy; and if I concentrate on the arms, then nothing else works. So, currently I’m trying to work out what’s the most important to nail, and focussing all energy on it.
I suspect the head issue might be the win.
In summary: pirouettes, and all that jazz.