Reflections: 2012 Wrap-up

It's been my most eventful year thus far. Other than the fact that I started this blog around the end of May this year and got into a dance scholarship, it's also the year where I forged new bonds with people I have least expected to have as well. From the salsa team to my current dance scholars, this is a year I won't forget for sure.

Major events in 2012:

February-
My first salsa dance class and salsa social, ever. I had a good time dancing with guys who were beginners like me (or maybe even advanced guys disguised as beginners just to make me feel better.) I was warming up to a supportive community of dancers in Jitterbugs Swingapore, a dance studio that is versatile in dance styles, pioneers of Lindy Hop, and possibly Singapore's biggest dance studio ever. You can't miss it, it's at the Basement level of The Grand Cathay. While movie goers are upstairs enjoying their date, dancers are downstairs plotting to take over the world practicing hard for performances.

April-
I was introduced to west coast swing during March, but only started taking lessons in April. I recall getting my first west coast swing social dance either at the end of March or early April, and of all the details I could remember, I remember dancing in close hold to the song Hate that I love You by Rihanna. After that I was slowly introduced to the idea of tension in west coast swing, and they felt different than salsa. Usually salsa's tempo is really quick, so the push and pull is always easy to miss, whereas in west coast swing, you have a lot of stretch in order to feel the lead and follow. Then again, it was my beginning months into partner dancing, so I was still trying to grasp the concept of lead and follow, and how the feelings are completely different in both.

May-
Watching Jitterbugs' Wanna Dance Recital got me pumped to get better in both salsa and west coast swing, and it also got me excited to perform and chip in a few choreography ideas for my tap dance recital. The highlight was definitely the ballet-jazz number with Zelia, Nicholas, Wei Cheng and Yee Shan. It was  hilarious to watch, yet they displayed technical prowess in dance too. A special shoutout to Fen for the awesome choreography.

September-
I revisit my love-hate relationship with solo dances outside of tap as I step into my first Jazz class with Jitterbugs. All I can say is that the teaching here is much different than what I had experienced 5 years ago. But that's maybe because I was in the kids class, and the teacher was probably more focused in fun choreography rather than technique. I probably wasn't that good, technique-wise, in the advanced kids teens class, and I doubt there was any across the floor work back then. This jazz class was a big sucker punch, as I found myself face to face with a crunch routine that lasted for 3 and a half minutes, and to top that off, planks...I was trembling by the end of that class, and I even suffered from delayed onset muscle soreness. But thanks to the support I got, I decided to audition for the Developing Artiste Programme 2 days later, and I got in!

November-
The Dappies before me perform their graduation show this month, and the fresh Dappies and I were backstage helping them out. Initially, I was quite pressured by the fact that their 10% looked like my 60% - their dance technique seemed like an external limb for all of them! But then I took the time to digest and dissect each of their moves, and decided maybe it can be done with practice during a year or two's time. Needless to say it was an inspiring show as well, and I can't wait to go out there to be like them, or better than them. You'll never know, as aesthetics are generally subjective.

December-
This was the month I had most fun with - performing a tap number, bonding with the salsa team, swinging around with the Mosaic people, and then ending it off by putting on weight and losing my hard earned abs. Damn, I had too much fun for 10 days, and I have to get back in shape for 2013. Oh well, at least I think my demi pointes are getting better. My feet still needs to support my weight though, because my arch looks good on tendus, but not on releves. However, I'm still glad to say that I've definitely lived my life fully in 2012.

Here's to 2013, everyone. Keep swinging on!

Reflections: The Pressure to Look Good

It's inevitable that dancers constantly face the pressure of having to look good all the time, especially when they have an audience. They'll feel constantly watched, and have to be vigilant with every move that they do. Any misplaced finger or shaky ankle can break the lines and render their photo-moment imperfect, and they'll beat themselves up for it.

I'm beginning to get this sensation too every time in dance class. At the choreography sections of each class, we are often divided to smaller groups to perform the steps. I feel watched. Although the audience is a small one, I still feel the need to go full out and ensure that every move is done correctly and with pinpoint precision. What contributes to this pressure further is when you know that there are seasoned dancers in the same class as you. It could be really demotivating when your style, lines, technique and expression aren't as good as theirs, as they set the bar really high.

Knowing that you probably won't be able to do justice to the choreography is probably what hurts more. In the more advanced classes I take such as lyrical jazz, I find that my dance vocabulary is still very limited. My body isn't strong enough to carry axis turns properly, I can't do barrel roll turns, illusion turns, fouettes, back attitudes, arabesques etc etc.

There are also times where you feel that you're lost in your head in your dance comfort zone. This is the time when your instructor will probably call you out, "Amanda, turn out more," "Squeeze your inner thighs," "Don't sickle your feet", "Collect your Passe", "Your toes are slightly clawed", "Louder heel sounds", "Sharper movements." These comments abruptly snap you out of the clouds and ground you back to Earth, where you realise your imperfections and have to adjust accordingly. But when overdone and hyper-vigilance switches on, your train of thought catches every imperfection your doing, that sometimes you feel like you want to stop whatever you're doing. But when you're going across the floor, you're not allowed to stop. Sometimes, it's better to let subtle details like your derailing ankles, misaligned tailbone, and stiff fingers slip away, only to come back on work on them at a later time.

The only times when I feel that my comfort zone can exceed my expectation to look good is during my tap classes. Then again, I've been in tap for about 13 years now, so it's like an extended limb to me. That way I can always put on that sprezzatura look whenever I'm in class.

I can only hope that I'm diligent enough to strengthen my core, work the inner thighs, and maintain a correct posture through the holidays. I should probably do some ballet poses and exercises to work on the lines too.

Reflections: Progress Report

The first ever dance technique class happened today as part of the Developing Artistes Programme requirement. My inner thigh muscles hurt like mad, but hey, it's part and parcel of important ballet technique, along with any other dance for that matter, because spins and turns are featured prominently across all dance genres, and it requires tons of control.

Now that Salsa Swingapore is going to be a part of my dancing regime *fingers crossed on survival aka time management skills* I hope this means that my follow can be leveled up better too! For now, it's working on the isolations and making sure they glide along smoothly.

One tip though, if you want to work on inner thigh muscle strength, clamp something in between your thighs, turn out, and go up on releves. It's a great workout. You may or may not have a phantom object sensation later, but yeah, you've been warned :P