Yay!! Back to posting once again. I seem to be as tech savvy as a salad crouton . Very much need to work on that as it doesn’t help overall.
Creativity updates are as follows: thank you audience people for the super positive feedback to the ballet pointe show! It means a lot that classical skill is appreciated in such a non classical setting. The reason I started training again was to see what I could do with it as a new performance skill in my repertoire after seeing the AMAAAAAZING Misty Copeland Under Armour commercial. Got me thinking about the fascination and fetishism of ballet and how much I still loved its grace and elegance. Its something that I realized is another creative outlet that isn’t restricted like either my candle or fire shows, only uneven stages are a problem as that can cause injury.
I did ballet from about age 5 to 11 years old which was when I fractured the growth plate in my right leg/fibula, a notable injury on top of the multitude of ankle sprains/strains, a wrenched achilles tendon, prompting the doctor to tell my mum to take me out of ballet as it wasn’t a good idea to continue. In hind sight a year off to heal or so and then gradual training/build up would have been wiser but thats not what happened. Instead I took about 16 years off from classical dance training till I started dancing full time in 5 inch heels on stage.
I tried doing pointe again when relatively new to performing full time and failed as my ankle and leg muscles hadn’t been sufficiently conditioned for a full pointe show. That took 8 years of a lot of work to strengthen the ankles/legs where I could do a fully innovative pointe and floor show while integrating pole use without a break in flow. A key component was also getting the right pointe shoes which made a huge difference in comfort and stability. I also keep on my knee pads for floor work as that is invaluable for cushioning/injury prevention, thigh high leg warmers are priceless for concealing those.
A lot of fun as well is the duty of really breaking in new shoes, its amazing the difference it makes, using a comfy broken in pair of pointe shoes vs a stiffer newer pair. That classical problem of wanting to wear the newer pair to break them in but not wanting to do a stiffer show in them vs the comfy pair. The dilemma being the more work and sweat in the newer pair is what they ultimately need to wear in better.
Ballet workable costumes are also tricky when taking into account the pole that is often also on stage. I have to be aware of the weight/movement of the skirt/pants I wear to not get hung up in pointe shoes when I lift my leg and also the feel of a jacket/coat when doing pole work. It throws off balance when the shoulders are constricted.
I have to say that this foray into concentrated ballet training and performance inclusions interesting in where it will go for my style and how I can further my ability on stage with a lot more practice and learning.