Category Archives: Ballet Chicanery

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No one can seem to find my book. It is posted in the drop-down section on the top of the Home Page, under Book. But even my daughter said she could not “find” it because the tweets that went out were titled “private”. That is because I used those links to tag the pages only. The fact is you cannot promote a PAGE on WordPress. Yes, it’s true. I am thinking about whether to bind it and sell it, sell digitalized sections, like on itunes, or just give it away and ask for donations. It is a pretty good little book for all that. I wrote it for my daughter. I am sorry about that, as it appears to confuse people, but WordPress is not perfect. It is a little history of ballet (to be followed by more), but it is encapsulated into a small number of pages of information for the busy reader, and not one who has time to devour a 700 page books on the shadings of the history of ballet.

I am very wary of one source that everyone can go to for a thing anyway. It never works out, as it is all one person’s perspective of the thing and you could read several perspectives and get a more objective opinion by picking and choosing your authors. For years there was one book of art history, for example, Horst W. Jansen’s ART HISTORY. When I went to NYU, it was read in two parts in two semesters by every student: art history, art, or as an elective by just about anyone. My art teacher told me this before going to college, so I bought the book (I was always buying up books-which all of my mates have found to be a nuisance when moving) in a nearly demolished condition and read it. I could have taken the AP test at the time, but avoided art history after that assiduously, and took other art history course with more relish, fin de siecle, architecture, Japanese, John Berger, perspective and other antiquated texts by famous and not-so famous Italian artists-my own perspective and not one shared by a group, after which you all know the same thing, make comparisons using the same jumping off point, like evolution, or the bible. Perhaps there is another explanation, if only we pause to think.

I went to galleries, and made art, and as I had already read my mother’s college textbooks on art history as a child, these images were all familiar to me. There is another way of having information drummed into you, like falling asleep during infomercials, when you are married to someone who will not turn off the tv! Even today, I find myself suddenly saying “Oh, Diane!”, doing various aerobic exercises suddenly and having a strange fascination and compulsion for ordering anything As Seen On TV. Some things stay with you, and no matter how you may try to shake them, they will not go away. This, is a very dangerous thing in art and religion. It causes people to make art just like other people, and to repeat things nonsensically, even wars.

In art, seeing the art, reading the details, and making the art are the only requirements. One definitely does not have to have knowledge of art history to make art. One can just do it. Literature is nearly the same. In fact, if one reads too much, I am of the opinion, that their art will take on naturally acquired elements of other masterpieces, other voices, and who is not guilty of looking at another person on the dance floor, whether to compare oneself to them or to copy their moves? Who says they are right? Inspired, original? Being inspired by the painter next to you is different, as the expressionists, impressionists, and other masters inspired each other, they stole, and that is occurring all the time in music as well. It may only be copied because it is popular/is selling. But every period of great art is preceded by an artist who sets or leads that genre or faction. In a sense, he (because it was always a he) was the true initiator of the style, and even so, no one often has considered that until history is put down. So there are some things you have to find in books. It makes the understanding of development easier and you know who did what, unless they argue, such as with Morse and his code, or the Italian gentleman (what’s his name?), or a dictionary-to get the word right.

And people were so busy arguing about that, at the time, that they forgot completely that Morse was a painter of some renown, an academician, and many other things, but a painter first. Although his painting were not very painterly, he used art as a means of communication, like words, diagrams. He caught an essence of something that would otherwise have been missed. He taught at NYU and painted many paintings before developing that code. His painting of the Louvre sold for about $2,000,000, I think, and was exhibited at the gallery I worked at at NYU. Grey. We had to post a guard so nobody touched it. Of course everyone wants to touch things, to connect with the artist….who was dead. But nevertheless, people reached out and boop! another fingerprint on the masterpiece (?). But without people, even dumb ones, being disposed to connect with art, there would not be any, no need for it. The fact that even ignorant people want to connect with art should say something. A picture is worth a thousand words.

So music and the other arts would seem to follow, I learned in this way, and to find the progenitor of a style of music might be easy at the time, but quickly is lost again in the many productions that follow in an effort to capitalize on the success of that thing. This is business-not to be confused with art. It is archivists and djs, mostly, who are able to tell us which came first and make that an interesting tableau for their programs, books and lecture tours. But there is such a thing as a bad dj, producer, etc. Usually they tend to put things in the wrong order. We want to be led along, told a story, shown a tableau, experience a symphony, be moved by the moving and spoken to by the articulate. We want to be dumb. That is a source of business. A demand?What is it with people who call themselves something and fail to move us to the adjudicated point? It is rarely worth it to pay the price of admission to find out and only be disappointed again. I know a lot of dancers but would pay only to see certain ones perform, because I feel they have no statement to make, and I want to be entertained-forget. Be dumb. I am the woman in the mint commercial, being blown by a minty wind. carried away by Calgon, and Yule Gibbons, munching on that branch. Things I cannot do, like politics, I want done for me. That is why I am paying X amount of dollars to be carried away.

What would we do without them? Listen to the music. Look at the art. Watch the dancing. Life goes on and in it we have a few moments, sometimes more in which we are extremely lucky to be part of something bigger than ourselves, a herald of a new event, a new vision, something fresh, inspirational, memorable. Monumental. Big. I have seen a few big things and knew they would be big, remembered, permanent. But not many, a few. I keep looking for new things. In ballet, as in music, and art, it is the public opinion that counts. It is the listening to the music that other people have often put before us, making themselves a necessary evil, in order to get a percentage of that product going out the door, take some responsibility for its success and demands rewards, or a part of the pie. Whether anyone involved in the selling of these products admits it or not, theirs is a percentage-based endeavor and has nothing whatsoever to do with the art. It has to do with their greed usually, their ego always, and their own motives without a doubt. Almost never! has it to do with just being a part of something historically important, useful or necessary to carry on art.

A presenter is important to artists, who so often fail at business tasks, as they are busy becoming good at their art, learning to play their instruments, draw and paint, make films, dance, choreograph. Whatever they do, if they are good enough at it, they must totally devote themselves to the perfection of it and virtually nothing else. How else could they become great artists? Sometimes it is because of the presenter only that we too see these events, witness this spectacle or brush this greatness. Usually, this is lost in the the minds of the individuals rapt in awe at their opportunity, their self-importance, their luck. They never see the presenter, or think of him/her, they remember the art, but not the reason they saw it, why they had that opportunity, ot how it all came together. That is magic then, sort of, isn’t it? Like the great oz behind the scenes, but not really doing it for his own gratification, but rather creating something bigger out of smaller parts, a show, something to remember in life that was truly amazing, a standout, history.

Well, these days I do not think a lot of them are.

 

 

Were Margot Fonteyn and Rudolf Nureyev secret lovers? | Mail Online


Were Margot Fonteyn and Rudolf Nureyev secret lovers? | Mail Online.

▶Funniest Ballet Video EVER isn’t even a ballet….Swine Lake


▶ Rudolph Nureyev at Muppet Show – YouTube.

BUT contains one of the greatest ballet dancers EVER, MR. RUDOLF NUREYEV. I have a feeling even though this seems like a gag, weight issues with female ballerinas, must really set dancers on edge. Nureyev dropped one at least once, injuring her….ladies, BEWARE!

 

 

 

 

 

 

 

Colin Jost: “Sign Here” extract from The New Yorker


Colin Jost: “Sign Here” : The New Yorker.

 

Just be patient and read down to the LAST LINE…..

Repost from 1999: Francis Mason, 88, dance critic and society figure


Francis Mason, 88, dance critic and society figure.

Pas de Deux: A Dancer’s-Eye View of a Performance – Kasia Cieplak-Mayr von Baldegg – The Atlantic


Pas de Deux: A Dancer’s-Eye View of a Performance – Kasia Cieplak-Mayr von Baldegg – The Atlantic.

See Video-really amazing. I love them….

▶ Partnering | Ep. 9 | city.ballet


▶ Partnering | Ep. 9 | city.ballet – YouTube.

▶ Nico Muhly Advice For Dealing With Frustration


▶ Nico Muhly Advice For Dealing With Frustration – YouTube.

 

Benjamin Millepied talks about his new choreography with Dutch National Ballet


Benjamin Millepied talks about his new choreography with Dutch National Ballet – YouTube.

Music, Nico Muhly.

Who Says Elephants Can’t Dance?


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We do not see ourselves as others see us, do we? Sometimes we form a somewhat higher opinion of ourselves than is warranted in some areas, and at other times we see ourselves as having all of the possible faults, and none of the attributes-sometimes we are very hard on ourselves, and do not let ourselves shine through. We stifle ourselves, for lack of a better word. We look, but we fail to SEE. Seeing really is an ART. We can emerge, like a butterfly, from a cocoon, or possibly, we feel we could fail to metamorphosis into a butterfly? NO, we all morph into butterflies.

But, at this stage of growing up, it is important to pat ourselves on the back for jobs well done and realize that all of those jobs cannot lie on the same plane, some things have to give, to make room for the important ones. One cannot take every little thing so seriously and sometimes when you realize this and stop beating yourself over the head for it, things fall into place [

Falling in Place

AH, EXCELLENT book]

as they should  and you can just coast along, enjoying the ride for a change. It is about enjoying life, one day at a time.

You know you have to jump off, but you can become (almost) entirely relaxed about the point at which you need to jump. You can pause TIME. Use time more efficiently, when you do not worry-practice deliberately not worrying-and then you can become expert at it, like the dancer who can complete 64 beats of the feet in the air before landing-not recorded since Nijinsky, but absolutely possible to DO! Like taking your hat off when the string breaks and setting it down, with composure, dancing on, as if that were your intention all along. And eventually, it just happens, you realize there are at least two of you in there, one who knows what to do when the other has %^&*(up. You then jump as fast and as hard as you can, while you can, because you can, and you LIKE IT! LOVE IT! Bask in that power.

Appreciate every moment, but then lie down. Look up at the trees with the sun shining through them and watch the wind gently moving their boughs, rustling their leaves, do an encore. Take your bow. You deserve it. And wait for your next chance! But there have to be those moments when you enjoy the fruits of your labor, when you stop worrying about the future so much and enjoy the present. That present is NOW-in case you hadn’t noticed. Don’t apologize for being you. Be you. Make that a you you like to be though. That elephant up there loves himself. You can tell. He just does and I bet he doesn’t even think that he is an elephant!

It is necessary as a young person to pass through this phase, because it allows us to make all of these glorious mistakes, waste all of this (valuable) time feeling all kinds of feelings, sometimes losing the sense of the present, and the joy in it, with our faces pressed to the glass, and we emerge a swan ourselves in spite of all of our efforts to thwart the process! But do not let some adult like me tell you not to have and enjoy all of those feelings, too. They are yours. What would happen if we went along with the process? Did not rebel? Would we achieve more, watch time passing, be more aware of what is happening around us. Doubtful-it wouldn’t be life and adolescence and youth any other way. Is it like a sixth sense? Kind of. Knowing those who have all gone before us as we continue to go.

The process is important in all phases and one should relish those opportunities for change and excitement and new things. For knowledge. New insights will come at every turn, so turns and twists are very important. Without them, no change, no excitement, no epiphanies can occur. Motion makes change and action makes motion. It is the unstable part of youth where we begin to fear the possibility of the future passing us by-don’t let it-not-a-second! Think of all of the other possibilities! For 20 years later, those of us who do not fully live, regret what we did not do, will have unfulfilled expectations. We will remember when we could have amounted to so much, done so much, if only we had given it out all when we had all to give…..and that fear, for it is the only valid one, somehow gives us the momentum, if not the incentive, we need to move ahead, for surely nothing happens if we sit still-time passes us by as we feared.

(It is short and meant to be read out loud, spoken to hear the rhythm)

Rubaiyat of Omar Khayyam



  Edward FitzGerald's Translation (1889).

			1

	Awake! for Morning in the Bowl of Night
	Has flung the Stone that puts the Stars to Flight:
	And Lo! the Hunter of the East has caught
	The Sultan's Turret in a Noose of Light.

			2

	Dreaming when Dawn's Left Hand was in the Sky
	I heard a Voice within the Tavern cry,
	"Awake, my Little ones, and fill the Cup
	"Before Life's Liquor in its Cup be dry."

			3

	And, as the Cock crew, those who stood before
	The Tavern shouted--"Open then the Door!
	"You know how little while we have to stay,
	"And, once departed, may return no more."

			4

	Now the New Year reviving old Desires,
	The thoughtful Soul to Solitude retires,
	Where the WHITE HAND OF MOSES on the Bough
	Puts out, and Jesus from the Ground suspires.

			*****

			5

	Iram indeed is gone with all its Rose,
	And Jamshyd's Sev'n-ring'd Cup where no one knows;
	But still the Vine her ancient Ruby yields,
	And still a Garden by the Water blows.

			6

	And David's Lips are lock't; but in divine
	High piping Pehlevi, with "Wine! Wine! Wine!
	"Red Wine!"---the Nightingale cries to the Rose
	That yellow Cheek of hers to incarnadine.

			7

	Come, fill the Cup, and in the Fire of Spring
	The Winter Garment of Repentance fling:
	The Bird of Time has but a little way
	To fly---and Lo! the Bird is on the Wing.

			8

	And look---a thousand Blossoms with the Day
	Woke---and a thousand scatter'd into Clay:
	And this first Summer Month that brings the Rose
	Shall take Jamshyd and Kaikobad away.

			*****

			9

	But come with old Khayyam, and leave the Lot
	Of Kaikobad and Kaikhosru forgot!
	Let Rustum lay about him as he will,
	Or Hatim Tai cry Supper---heed them not.

			10

	With me along some Strip of Herbage strown
	That just divides the desert from the sown,
	Where name of Slave and Sultan scarce is known,
	And pity Sultan Mahmud on his Throne.
			11

	Here with a Loaf of Bread beneath the Bough,
	A Flask of Wine, a Book of Verse---and Thou
	Beside me singing in the Wilderness---
	And Wilderness is Paradise enow.

			12

	"How sweet is mortal Sovranty!"---think some:
	Others---"How blest the Paradise to come!"
	Ah, take the Cash in hand and waive the Rest;
	Oh, the brave Music of a distant Drum!

			*****

			13

	Look to the Rose that blows about us---"Lo,
	"Laughing," she says, "into the World I blow:
	"At once the silken Tassel of my Purse
	"Tear, and its Treasure on the Garden throw."

			14

	The Worldly Hope men set their Hearts upon
	Turns Ashes---or it prospers; and anon,
	Like Snow upon the Desert's dusty Face
	Lighting a little Hour or two---is gone.

			15

	And those who husbanded the Golden Grain,
	And those who flung it to the Winds like Rain,
	Alike to no such aureate Earth are turn'd
	As, buried once, Men want dug up again.

			16

	Think, in this batter'd Caravanserai
	Whose Doorways are alternate Night and Day,
	How Sultan after Sultan with his Pomp
	Abode his Hour or two, and went his way.

			*****

			17

	They say the Lion and the Lizard keep
	The Courts where Jamshyd gloried and drank deep;
	And Bahram, that great Hunter---the Wild Ass
	Stamps o'er his Head, and he lies fast asleep.

			18

	I sometimes think that never so red
	The Rose as where some buried Caesar bled;
	That every Hyacinth the Garden wears
	Dropt in its Lap from some once lovely Head.

			19

	And this delightful Herb whose tender Green
	Fledges the River's Lip on which we lean---
	Ah, lean upon it lightly! for who knows
	From what once lovely Lip it springs unseen!

			20

	Ah, my Beloved, fill the Cup that clears
	TO-DAY of past Regrets and future Fears---
	To-morrow?---Why, To-morrow I may be
	Myself with Yesterday's Sev'n Thousand Years.

			*****

			21

	Lo! some we loved, the loveliest and best
	That Time and Fate of all their Vintage prest,
	Have drunk their Cup a Round or two before,
	And one by one crept silently to Rest.

			22

	And we, that now make merry in the Room
	They left, and Summer dresses in new Bloom,
	Ourselves must we beneath the Couch of Earth
	Descend, ourselves to make a Couch---for whom?

			23

	Ah, make the most of what we yet may spend,
	Before we too into the Dust descend;
	Dust into Dust, and under Dust, to lie,
	Sans Wine, sans Song, sans Singer, and---sans End!
			24

	Alike for those who for TO-DAY prepare,
	And those that after a TO-MORROW stare,
	A Muezzin from the Tower of Darkness cries
	"Fools! your Reward is neither Here nor There!"

			*****

			25

	Why, all the Saints and Sages who discuss'd
	Of the Two Worlds so learnedly, are thrust
	Like foolish Prophets forth; their Words to Scorn
	Are scatter'd, and their Mouths are stopt with Dust.

			26

	Oh, come with old Khayyam, and leave the Wise
	To talk; one thing is certain, that Life flies;
	One thing is certain, and the Rest is Lies;
	The Flower that once has blown for ever dies.

			27

	Myself when young did eagerly frequent
	Doctor and Saint, and heard great Argument
	About it and about: but evermore
	Came out by the same Door as in I went.
			28

	With them the Seed of Wisdom did I sow,
	And with my own hand labour'd it to grow:
	And this was all the Harvest that I reap'd---
	"I came like Water, and like Wind I go."

			*****

			29

	Into this Universe, and why not knowing,
	Nor whence, like Water willy-nilly flowing:
	And out of it, as Wind along the Waste,
	I know not whither, willy-nilly blowing.

			30

	What, without asking, hither hurried whence?
	And, without asking, whither hurried hence!
	Another and another Cup to drown
	The Memory of this Impertinence!

			31

	Up from Earth's Centre through the Seventh Gate
	I rose, and on the Throne of Saturn sate,
	And many Knots unravel'd by the Road;
	But not the Knot of Human Death and Fate.

			32

	There was a Door to which I found no Key:
	There was a Veil past which I could not see:
	Some little Talk awhile of ME and THEE
	There seemed---and then no more of THEE and ME.

			*****

			33

	Then to the rolling Heav'n itself I cried,
	Asking, "What Lamp had Destiny to guide
	"Her little Children stumbling in the Dark?"
	And---"A blind Understanding!" Heav'n replied.

			34

	Then to this earthen Bowl did I adjourn
	My Lip the secret Well of Life to learn:
	And Lip to Lip it murmur'd---"While you live
	"Drink!---for once dead you never shall return."

			35

	I think the Vessel, that with fugitive
	Articulation answer'd, once did live,
	And merry-make; and the cold Lip I kiss'd
	How many Kisses might it take---and give!

			36

	For in the Market-place, one Dusk of Day,
	I watch'd the Potter thumping his wet Clay:
	And with its all obliterated Tongue
	It murmur'd---"Gently, Brother, gently, pray!"

			*****

			37

	Ah, fill the Cup:---what boots it to repeat
	How Time is slipping underneath our Feet:
	Unborn TO-MORROW, and dead YESTERDAY,
	Why fret about them if TO-DAY be sweet!

			38

	One Moment in Annihilation's Waste,
	One Moment, of the Well of Life to taste---
	The Stars are setting and the Caravan
	Starts for the Dawn of Nothing---Oh, make haste!

			39

	How long, how long, in infinite Pursuit
	Of This and That endeavour and dispute?
	Better be merry with the fruitful Grape
	Than sadden after none, or bitter, Fruit.

			40

	You know, my Friends, how long since in my House
	For a new Marriage I did make Carouse:
	Divorced old barren Reason from my Bed,
	And took the Daughter of the Vine to Spouse.

			*****

			41

	For "IS" and "IS-NOT" though with Rule and Line,
	And "UP-AND-DOWN" without, I could define,
	I yet in all I only cared to know,
	Was never deep in anything but---Wine.

			42

	And lately, by the Tavern Door agape,
	Came stealing through the Dusk an Angel Shape
	Bearing a Vessel on his Shoulder; and
	He bid me taste of it; and 'twas---the Grape!

			43

	The Grape that can with Logic absolute
	The Two-and-Seventy jarring Sects confute:
	The subtle Alchemist that in a Trice
	Life's leaden Metal into Gold transmute.

			44

	The mighty Mahmud, the victorious Lord,
	That all the misbelieving and black Horde
	Of Fears and Sorrows that infest the Soul
	Scatters and slays with his enchanted Sword.

			*****

			45

	But leave the Wise to wrangle, and with me
	The Quarrel of the Universe let be:
	And, in some corner of the Hubbub coucht,
	Make Game of that which makes as much of Thee.

			46

	For in and out, above, about, below,
	'Tis nothing but a Magic Shadow-show,
	Play'd in a Box whose Candle is the Sun,
	Round which we Phantom Figures come and go.

			47

	And if the Wine you drink, the Lip you press,
	End in the Nothing all Things end in ---Yes---
	Then fancy while Thou art, Thou art but what
	Thou shalt be---Nothing---Thou shalt not be less.

			48

	While the Rose blows along the River Brink,
	With old Khayyam the Ruby Vintage drink:
	And when the Angel with his darker Draught
	Draws up to Thee---take that, and do not shrink.

			*****

			49

	'Tis all a Chequer-board of Nights and Days
	Where Destiny with Men for Pieces plays:
	Hither and thither moves, and mates, and slays,
	And one by one back in the Closet lays.

			50

	The Ball no Question makes of Ayes and Noes,
	But Right or Left, as strikes the Player goes;
	And He that toss'd Thee down into the Field,
	*He* knows about it all---He knows---HE knows!

			51

	The Moving Finger writes; and, having writ,
	Moves on: nor all thy Piety nor Wit
	Shall lure it back to cancel half a Line,
	Nor all thy Tears wash out a Word of it.

			52

	And that inverted Bowl we call The Sky,
	Whereunder crawling coop't we live and die,
	Lift not thy hands to *It* for help---for It
	Rolls impotently on as Thou or I.

			*****

			53

	With Earth's first Clay They did the Last Man's knead,
	And then of the Last Harvest sow'd the Seed:
	Yea, the first Morning of Creation wrote
	What the Last Dawn of Reckoning shall read.

			54

	I tell Thee this---When, starting from the Goal,
	Over the shoulders of the flaming Foal
	Of Heav'n Parvin and Mushtara they flung,
	In my predestin'd Plot of Dust and Soul

			55

	The Vine had struck a Fibre; which about
	If clings my Being---let the Sufi flout;
	Of my Base Metal may be filed a Key,
	That shall unlock the Door he howls without

			56

	And this I know: whether the one True Light,
	Kindle to Love, or Wrathconsume me quite,
	One Glimpse of It within the Tavern caught
	Better than in the Temple lost outright.

			*****

			57

	Oh, Thou, who didst with Pitfall and with Gin
	Beset the Road I was to wander in,
	Thou wilt not with Predestination round
	Enmesh me, and impute my Fall to Sin?

			58

	Oh, Thou, who Man of baser Earth didst make,
	And who with Eden didst devise the Snake;
	For all the Sin wherewith the Face of Man
	Is blacken'd, Man's Forgiveness give---and take!

		KUZA-NAMA ("Book of Pots.")

			59

	Listen again. One Evening at the Close
	Of Ramazan, ere the better Moon arose,
	In that old Potter's Shop I stood alone
	With the clay Population round in Rows.

			60

	And, strange to tell, among that Earthen Lot
	Some could articulate, while others not:
	And suddenly one more impatient cried---
	"Who *is* the Potter, pray, and who the Pot?"

			*****

			61

	Then said another---"Surely not in vain
	"My Substance from the common Earth was ta'en,
	"That He who subtly wrought me into Shape
	"Should stamp me back to common Earth again."

			62

	Another said---"Why, ne'er a peevish Boy,
	"Would break the Bowl from which he drank in Joy;
	"Shall He that *made* the Vessel in pure Love
	"And Fancy, in an after Rage destroy!"

			63

	None answer'd this; but after Silence spake
	A Vessel of a more ungainly Make:
	"They sneer at me for learning all awry;
	"What! did the Hand then of the Potter shake?"

			64

	Said one---"Folk of a surly Tapster tell
	"And daub his Visage with the Smoke of Hell;
	"They talk of some strict Testing of us---Pish!
	"He's a Good Fellow, and 't will all be well."

			*****

			65

	Then said another with a long-drawn Sigh,
	"My Clay with long oblivion is gone dry:
	"But, fill me with the old familiar Juice,
	"Methinks I might recover by-and-bye!"

			66

	So while the Vessels one by one were speaking,
	One spied the little Crescent all were seeking:
	And then they jogg'd each other, "Brother! Brother!
	"Hark to the Porter's Shoulder-knot a-creaking!"

			67

	Ah, with the Grape my fading Life provide,
	And wash my Body whence the Life has died,
	And in the Windingsheet of Vine-leaf wrapt,
	So bury me by some sweet Garden-side.

			68

	That ev'n my buried Ashes such a Snare
	Of Perfume shall fling up into the Air,
	As not a True Believer passing by
	But shall be overtaken unaware.

			*****

			69

	Indeed the Idols I have loved so long
	Have done my Credit in Men's Eye much wrong:
	Have drown'd my Honour in a shallow Cup,
	And sold my Reputation for a Song.

			70

	Indeed, indeed, Repentance oft before
	I swore---but was I sober when I swore?
	And then and then came Spring, and Rose-in-hand
	My thread-bare Penitence apieces tore.

			71

	And much as Wine has play'd the Infidel
	And robb'd me of my Robe of Honour---well,
	I often wonder what the Vintners buy
	One half so precious as the Goods they sell.

			72

	Alas, that Spring should vanish with the Rose!
	That Youth's sweet-scented Manuscript should close!
	The Nightingale that in the Branches sang,
	Ah, whence, and whither flown again, who knows!

			*****

			73

	Ah Love! could thou and I with Fate conspire
	To grasp this sorry Scheme of Things entire,
	Would not we shatter it to bits---and then
	Re-mould it nearer to the Heart's Desire!

			74

	Ah, Moon of my Delight who Know'st no wane
	The Moon of Heav'n is rising once again:
	How oft hereafter rising shall she look
	Through this same Garden after me---in vain!

			75

	And when Thyself with shining Foot shall pass
	Among the Guests Star-scatter'd on the Grass,
	And in thy joyous Errand reach the Spot
	Where I made one---turn down an empty Glass!

		TAMAM SHUD (It is completed.)

			*****


Self loathing passes, too, many of the doubts, and all the uncomfortableness of the onset of maturity, with the acceptance of ourselves, but not complacency (!). We need to kick if only to make sure we still can. This process takes time and energy itself, and if we can just keep busy, active, focus our energies into the positive, second by second, minute by minute, day by day, we pass through it, and it cannot depress/suppress us so much if we use some of the indomitable will we possess innately, to repress IT, to conquer IT, and our own self-doubts. It is important however, now, to keep moving, to keep busy, and to keep dancing, pressing on, because we must go through the whole inevitable period of self-examination, self-prejudice and fault-finding in order to come through it a learned person, knowing the most about ourselves (whom we should know), a stronger person and one more grounded in who we really are and what we can really accomplish if we put our mind to it, and to finally realize that after our heartbreaks and changes, we are complex and fascinating and beautiful people, and not a shell, like the ones held up in photographs and poses, not fake and pasty pearls,, made shiny for the instant, but sea-hewn and rock hard, with mirrored finish and indomitable strength-the challenge is to be a better, stronger person and to emerge loving our faults, embracing them, and liking ourselves better for them, for they are actually our strengths-sometimes it is slow going, just a little of ourselves better each day, like washing an arm or the neck, with love, a little bit better every time, and a little more, if not love, then respect and awe, because we alone did it-made it through. It is us.

Our perseverance teaches us that we were better than we thought we were, and that there IS improvement in the way we see ourselves. Self-loving, self respecting and generous in our accomplishments to ourselves. Thankful. It requires bigger thinking. Huge thinking. And yet simple logic-a stronger brain. Some can articulate and some do not.

More importantly, we will emerge from this journey to find that we are still in the running-the race is not run, there is still time and even more importantly, more and better races, to be proud of not only how much we have accomplished, but realize we do possess that extra bit of mettle necessary to make it through the fire and survive and go again. All of this is coming, the hard part is looking it in the eye and moving forward with the courage and conviction necessary to achieve even half of what we set out to do, first we leave the gate, and then finishing up the rest of it like dessert because we finally realize we do have room and the ability! Then we look back and go, “Wow. What if I had stopped? It is about hanging on, baby. It is about the survival of the fittest, not just being super flexible and posing. It is about dancing and spirit and tenacity. A dancer is not born, a dancer is made. It is about hard work, now more than ever! It is about love, too.

I guess I was told in my twenties by my then husband, that my body changed (all the time). I couldn’t see it. I was a little vexed with him. But he was honest, though I did not (want) to realize it at the time. Sometimes I dieted, but usually I didn’t have to=the less I got on the scale or thought about it, the less I ate. Before I knew it, I was slim again. Svelte. Once told no one rocked the little black dress better! I didn’t think that day would come, but it was true. I just had not seen it all along. What a waste! Worrying about anything, never made it happen, or unhappen, but it took experience even to know that. Discipline is a part of it, but like other areas of life, you have to find solutions that work for you, aren’t really sacrifices, and it takes a while to prefer the taste of some foods over seemingly better-tasting ones. You can choose healthy and still taste good! If weird things aren’t your bag, by all means don’t eat things you don’t like. People were eating healthily before Whole Foods! Diets also aren’t meant to be permanent=that’s why you start eating better and you just learn to eat better forever. But in our teens, some people develop weird eating disorders and issues because of fad diets, body image issues, peer pressure, media, and the rest-sometimes their parents foist those problems upon them, because they want to create phobias like “your teeth will fall out!”, “you will put your eye out with that!”, “you do not want to be FAT!”. But there is fact and fiction. Nature guides us, too. That is why it is important to eat what you like, and use moderation in all things.

Teenagers do not see the rest of their lives, they only see the right now this minute and it is because of this that they are vulnerable to all sorts of things. When we realize there is a tomorrow and another slice of pizza or a bagel in the FUTURE, we do not look at the one today as if it is going to be the last one EVER! Trust me, at forty I was sick of Chicken, Beef, and Pork so Fish became much more appealing, and other options sprung up! Vegetables and other foods became interesting and playful until I was not eating very much neat all of a sudden, only sporadically. Nature must have intended it that way. Having worked in a bakery, I can say honestly that I hate baked goods! I had my fill of Napoleans, Cannoli, cakes and pies-For the most part food is ever plentiful and ever available. A cornucopia awaits, never empty! I completely gave up fad diets when I realized that I could honestly eat a favorite food once a day for the rest of my life and it would always be different, never ending, and the thought kind of bored me, like ohhh….kind of like the number of restaurants in New York-you can go to a different one three times per day, and STILL never try all of them in your whole life.

The key is to see if we want it as badly in 5 minutes or this evening, tomorrow, or on Saturdays or Sundays, teaching restraint and perspective. Mostly perspective. That way, by 6pm, tomorrow or Sunday, something nearly always looks better, and we begin to see how whimsical our choices are on the spur of the moment. When we are craving something, and fail to see how recent exercise or physical need might be the culprit-that our bodies crave certain foods, at certain times, and why. Unfortunately, I do not know a good book on this subject, but I do know of a writer who deals with it in dancers specifically. I have posted several articles by her from her blog. She is full of good advice and offers recipes and facts on food. But the information is everywhere and in our brains there is common sense. You have to eat right. Live right. Eat a wide variety-variety is the spice of life! Take care in preparing your food, eating your food and enjoying your food. Sit and eat. Don’t run and eat for then you just feel hungry and as though you haven’t eaten at all. Mealtime should be a ritual. A time to sit and relax, and eat enough. Don’t overeat. Don’t try not to eat, rather eat something good and juicy, healthy, enriching, flavorful, whatever. Eat less, but eat more! Enjoy food. It nourishes you!

We all prefer to see ourselves as we once were, whether that was a nubile young thing, a mature teenager, “in my twenties”, “before I was married,” and it goes on, so that by the time we are 51 or 94 we are able to (at least) pick and choose which body we want to be, which period we most liked and ALL of them have reasons to be liked, eventually. But we are much more than a body. I would much rather be someone, if I could, and not just her body! We just have to be mature enough it seems to finally LIKE all of them that we are, that we have been. And you will. In time. For me, it did happen young, it has happened, and now I am perhaps too comfortable with myself….Sometimes I wish I could just pick any one of those former selves and be that for a night out, a day in class, at the beach, in my paddling pool, again. But I realize I am all of those, too, and much more. I am a complete package and to extract one of those different bodies is impossible, because a human is an organism and changing all the time. Those images are literally in our mind like a snapshot in time. Our image of ourselves might be static, but we are never just as we remembered anyway. We are live actions figures and not dolls!

We really were different and changing all the time, like the sea. As women, we change daily, weekly, monthly, yearly, and as different systems in our bodies take over, work on their own for different reasons, from birth through life, such as when we bring a life into the world, and as we get older, we change sometimes drastically. Would we deny our baby’s good health by fretting too much over our own self-image during gestation? Cheat the wisdom of old age? No, it would spoil the emotional moment of our lives, and risk our baby’s health. Why would we treat ourselves differently? Risk our own health? Worse?

We don’t want to interfere or to control that body too much until we are perfectly comfortable with its ebbs and flows. It can take care of itself. We just have to learn what those are. They have a rhythm too. We just have to love it and deal with it. Some cultures celebrate all those changes! Some people never learn acceptance of themselves. They do not realize these things. They do not love themselves-it isn’t the food. Their behavior is boring and repetitive and predictable. I cannot imagine thinking about it all of the time, worrying about it all of the time, wasting time feeling bad with what-ifs and denying myself things I like-in moderation.

Sometimes it takes less time to control radical changes, other times , sometimes more, but I wish I had known then what I know now-that at least is unanimous among people. In the case of adolescence, people make it through. I remember looking in the mirror in a store changing room after my first child and going, “What the???” Even that changed and healed. Passed. A few years later, back into my stride, someone commented about how (based upon my appearance) it really was true that dancer’s bodies just sprang back, at how amazing my physique was, but I saw all my faults-or were they? It was at that point that I began to think differently, realizing I was good. Okay. Better even. Like scars, maybe our faults or perceived flaws, give us a kind of character, a chance to build on them, to strengthen, to love, they are a marker of where we have been even, cliche, but true. Unavoidable and part of life, so why fret life? But, so do all of those mental phases  and other memories, which become associated with times of our lives and are woven into the fabric of US, who we become, and cannot be separated. Don’t get lint in your warp! So make the most of them, enjoy what you can, and take time to smell the flowers. Make good memories, too. Eat what you want. My mother was good at telling me not to worry. She said I did not have to worry about getting fat. She was right. At my age it is when I look into the mirror to make a physical assessment, it is not like it used to be and yet, I am surprised that I do not look as bad as I feel. Sometimes I check and make myself laugh-I am still there, I am still me. Thank GOD. There was a time when I would not always like what I saw, I was too critical. I just didn’t see me! Now I do, and I am happy to greet ME!

I see the chubby girls with glowing skin, beautiful eyes, buxom beauties, so to speak, I see the slender girls with knowledge that they meet a certain body type, and I see natural beauty in all sorts of people, and less beauty in that which is continually thrust before me in media etc. I remember once closeted in an elevator in college with a bohemian film type and he prefessed his deep regard fo me and my Rubenesque (Rubens was a painter of scantily-clad and fleshy nymphs) figure. I was not Rubenesque, but even if I was to him, I was loved! I was appalled and fairly ran from the elevator. I see the marketing industry changing and attempting to glamorize fat, and obesity in order to market fashion for it. So the focus on weight has shifted from one end of the spectrum, to try to capitalize on people being fat, in other ways, and I do not mean weight loss centers-I mean fashion and money. Keeping them fat is big business nowadays. They even try to market fat food to fat people!

I do think people need to be disciplined and eat what they need and not waste the food on the planet. I think fat is fat, and if you love a person you want them to be healthy, not fat. If someone you love gets fat, would you leave them? But that goes to values and people. We should love people not ideals. But when someone is perfectly healthy and not fat, and is just seeing fat which is not there, which is their beautiful body and that person is not fat, I am concerned with what that person is worrying about and why they think they are fat. Obesity is a health issue. Dancers are healthy….

I would tell someone they do not look fat, I would not judge, I would say, “you look fine.” I tell anyone the truth who asks. Eat right. You are healthy. You’re you. What are you worried about. You are perfectly normal. And I do not like ballet companies who only hire dancers that are of one body type because usually they are not all good dancers. Boring. If I wanted to see a lot of strings on the stage I would cover it with silly string (and save alot of money-and make a statement). Lines are not about weight, and dancing is not about weight (partnering IS), but here I might insert good partner and bad partner-people who do not want to lift their own weight, let alone other dancers. Tall girls weigh more than small girls-they just do. There is someone for everyone. Ballet is about ART and art is not about modelling or fashion-art is not pop. Art is about truth and beauty and other things. It is about strength and agility, stamina and interpretation. It is about entertainment, and not only one person’s who is creating the piece. It is for the world and the whole world is not going to judge by image. They judge by talent, ability and beauty and many other things. It is not all orgiastic claptrap and perfect bodies. That is pretentious and real art, passionate art is anything BUT pretentious! They do not want to admit it, and say, “so and so is just g-o-r-g-e-o-u-s!”, and what they mean is “I am saying the right thing.” But they speak false. If truth is beauty, and beauty is truth, how can truth be false or false be beautiful…..? That is as much posing as anything and that is not art. No matter how deep they try to make it appear to be, some of it is just like a 45 minute fashion show and I do not find that moving, or relevant-except in context possibly, or meaningful. It is certainly not a forever theme. It is not real. It is not engaging. It is not interesting. It’s not even history. It is more a political statement than anything and art is not, or should not be, politics. It is boring! Perfect bodies have not necessarily been perfect artists-they have been perfect bodies. That is all. Not always perfect dancers. Some just can barely dance! Dancers have muscles and strength. They have to. Rarely do the two combine…..I love imperfections. They are unique! If you look hard enough, everyone has them. But don’t dwell on them-look at the dancing! And keep on dancing!

Carlos Acosta: New generation of ballet dancers lack passion and commitment – Telegraph


Carlos Acosta: New generation of ballet dancers lack passion and commitment – Telegraph.

Repost from Pointe Magazine: Like Mother, Like daughter (Kate Lydon)


Pointe magazine – Ballet at its Best..

Squash, summer-good article on benefits including anti-inflammatory


Squash, summer.

Too tutu: Joy Womack and the Bolshoi



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Too random. That is what it seems. Coming from this child, novice dancer in the ballet world. Seeming to fill out the months-ago statements by an ex-Bolshoi ballerina (Anastasia Volochkova) who was insulted (called old and fat) and spurned to tell all (as far as she knew) that the Bolshoi was full of gawking old and wealthy men who felt they could choose a ballet dancer as a mistress in this day and age, Joy Womack has turned womens’ rights sponsor and made statements about being asked to pay a commission on a role by a director of the Bolshoi. Even Russian ballerinas know when its time to leave. It is written in Time.com, that she is accusing them of “racketeering,” and states “extortion.”

Well, men will be men, and for that matter, women will be women, both can be predators, and the arts (be it rock n roll, music in general, theater, ballet, art, etc) will draw a party of every sort. The risk is when you become alluring to someone, no matter your gender, and I am not saying she is to me, it is well-advised to make your selections carefully. I am sure there are as many dancers who do this, as there are dancers who succomb to the offers of rarefied gifts and attentions of someone much older, much wealthier and powerful, or who is perceived to have clout with material benefits. I do not think there is ever a reason to prostitute oneself, but that is an opinion of morals and ethics, and my own. She has become someone people have told is important, and that the public wants to know about, so she sought out the press, which is different than the press seeking you out, to tell a story, vent, or defile. That might not do a lot of good. it may be the norm there. It may strengthen her case with the Bolshoi. I am not sure that is fair either.

A lot of prostitution has to do with cheap thrills, youth, materialism, lacking an ironclad set of ethics, or possessing rather loose morals (if it is still okay to use that term in this era.) A publicity hound is also someone who uses the press for their own motives, repeatedly. Sex (human nature), and art, has kept patrons coming back to all of the arts and any other place where there are desirable people forever. I am still not sure anyone need know about it, but I am not surprised the public eats it up. Better to sit in America and pass judgment on Russians, or go to Russia and ask to be a part of it (well you are now!) and then complain about it. It sounds par for the course to me and I do not know what everyone is making such a fuss about. But then, you always have to consider the source when accusations are made even if you don’t know anything about it at all (me and everyone else reading this).

I haven’t commented on it before in my blog, because I really do not know much about it. It is salacious gossip and everyone these days seems to love salacious gossip. I do not feel as if one of our girls has been wronged, however. My sympathies are inclined to run to the institution of ballet, those people her accusations might harm, and it comes across as wantonly selfish behavior on her part, not merited due to her low level, and frankly, who cares? If they had raped her-that would have been news. If she really has a grievance, she has been told to pursue it in court. Maybe countless other ballerinas will follow her footsteps-perhaps the change will be more gradual.

The Russian ballet institution is over three hundred years old (or is it 400?), which has been the basis of training and symbolizing great artists in the practicum of ballet. Frankly, I am not convinced she is ready to share the stage with some of the other better artists of Russia. Maybe they are not convinced either-they are very picky about their artists. Recently there has been much made of somewhat lesser dancers (technically) and the Russians think so too and state it. Perhaps Ms. Womack is just stomping her feet. But perhaps a sponsor does not mean a sexual sponsor. I was propositioned by many people and had I taken their money I would be guilty of prostitution, and many people have helped me and not asked for anything in return. Picasso was assisted by Gertrude Stein, and benefactors (both sexual and non) are known throughout the art world. Perhaps my issue with the press is that I am a publicist and there is no such thing as bad publicity. Joy Womack knows this. It is the choice of her statements which rankle me, because an accusation like that if made, should be made to the court, an attorney, perhaps, as they say, the police-for these are very serious accusations, they claim, and no press is bad press…. Other hearsay is that these accusations are true.

Faced with not being moved to the role of demi-soloist or soloist at the Bolshoi immediately, and being whatever age she is (19, at this writing, and took my correction from another article recently written and blogged), she riled at the suggestion that she pay for a role. This is not unheard of in the arts-bands have been paying to play for a long time. If people do not discuss this, then it continues unfettered, but you can just say,”No.” I have done this. Perhaps she needs to dance a little longer in the corps and obtain the dancing ability to star in roles. Perhaps that is what she is doing by moving to the Kremlin Ballet (if she does, or some other), where they may guarantee/promise her the parts she desires. But women might be treated differently in Russia, and Americans might just be treated differently there, too. There is no SESAC-like or worldwide dancer treaty, aligned with other countries in regard to dealing with artists, and perhaps there should be. But again SESAC does not protect artists in non-member countries, and then the task becomes enforcing it-we see where that has taken us. Before she seeks to become a citizen of another country, perhaps she should consider what she is giving up. She is stating she is opposed to their way of life, graft, blat. I would hate to see anything bad happen to her there. If this is the case, it seems more of a human rights issue and perhaps groups will offer her their support, but I think that based on her level of tenure (0), the industry might not change for her. But she is setting herself up to be reckoned with, more powerful. Who knows?

Music entertainers have signed away whole albums (sometimes several in an ascending royalty scale arrangement), and had their life’s work stolen and face having to start all over again. They still do. We have all heard of the casting couch and the infamous stories of libidinous actors, models and entertainers, including dancers, who have engaged in some pretty wild goings-on. Some true, some false. Some people have even left an industry due to this I have heard, others live it, even like it-it is a mature decision. If Ms. Womack was thusly propositioned, then she had a right to leave, or complain, but I cannot imagine how you go from corps to solo roles overnight, as she would be doing, when so many others have had as much or better training and subsist in the corps or rise more slowly. I have often wondered what separates one dancer from another there, what cost greatness, and how the roles are apportioned? Who gets to be the star when they all seem so great? What cost fame? Who knows. Maybe she is just needling people for roles and annoying them, so they spoke to her thusly. I would not be surprised. It is the theater. It is ballet. It is Russia!

If the charges against the Bolshoi are legitimate, of “racketeering”, then she must begin to know the differences in their culture now (and we are not SO different), so the Bolshoi says,”arrest us.” If you opt to go to a foreign country, and a vastly different culture, then you might bristle at some of their actions and acceptable cultural exchanges and practices. Isadora Duncan wrote about it, Pavlova had a fine Palace (demi), and jewels. Men willing to coddle you and bestow treasures upon you are not going to fade away, because it is illegal. If taking of favors is made illegal, then it will just be one more control Russians have added to the existing many and past. They would have to significantly up dancers salaries, and a whole new moral code (placed upon society) by dissed dancers would reform the world-NOT. Perhaps she understands, from her Time interview, more than she suggests. If faced with having to pay for a role, then someone might leave-and she did. She would not be the first dancer to do so here or there or anywhere. Some remain in the corps forever. She does not seem to want to remain in the corps at all and there are other options. The romantic affair seems to be over and she has gained a position at some other ballet company. I am not surprised about that either.

I think one of the things I have noticed about her is that she either lies or she is in denial about reality sometimes. Her ambition and determination is big. I have seen inconsistencies in her stated age at starting classes in the school at the Bolshoi, where she is from or grew up, what age she was actually accepted into the corps, what her solo roles have consisted of-considering she is not a soloist and these must have been semi-private performances or school performances, and even that she was a “company member” at 15 (!), the lead girl in the school in her level (!) and other things which did not ring true, were completely dishonest, or more fantasy than fact. It is these inconsistencies which cause me not to find all of her story plausible, or complete.

I have also heard some Russian teachers say she had trouble with her training, she was an average dancer, she has potential, she was not utterly special, she was less talented than other Bolshoi Academy trained dancers. Who knows, because we have not seen her dancing. This is also consistent with her age and previous training. If she sets the world on fire, as Plisetskaya or Pavlova did, Makarova, Fonteyn did, she will prove them wrong. What she does appear to be is ambitious! She has also learned to use the media as her sword-every girl should have a sword, but one has to be careful what one says to the media and does with the sword. But, speaking to the press can also be a smart move and not premature, despite the fact that we really know nothing about her dancing ability. She could have said she left for personal reasons, irreconcilable differences, taste, although for one, I think those sentiments might be reserved for a more seasoned professional-perhaps ambition and goals, timeframe and opportunity would be more logical and inoffensive.

I think one teacher’s assessment that she might grow into a formidable dancer is a good one, and perhaps the choice to leave the Bolshoi, unless she was having her arm twisted to sleep with someone, might not have been such a good one, particularly if you choose to stay in Russia. But it is her choice. Presented with some insurmountable difficulties, she drew attention to them as a last resort. The rest of the world might think she is crazy, but I do not think we have heard the last of her by any means. She is simply not content to sit in the corps.

The last 4 centuries of ballet we all know have been filled with drama and turmoil, just like any other art. It was chiefly indulged in by the French, of whom we must imagine lusty intrigue to go along with accurate historical accounts of their philanderings. Like a Britney Spears, or a Miley Cyrus, Ms. Womack is drawn into the world of adulthood, which combined with money, power, corruption and art, partying, and all that goes with “the business,” may not be to her taste after-all. Maybe she is a nice girl who has worked very hard to get there and does not want to get lost in the back row or sleep with some big-wig in order to be cast. There is certainly no guarantee that that action would prove positively reliable, produce fame, or it would be a shortcut for dancers to get roles, achieve success, and many dancers would probably line up for the opportunity-not all have the stiff spine Womack supports. There are rarely such sureties in any commercial venture. What Womack also seeks to tell us (in another article) is that her route to the top will be respectful and not one she would be “ashamed of”-that she would not do this. She is an American citizen, she has a choice, and maybe other dancers will leave the Bolshoi, respecting their individual choice, or perhaps they will stay in the corps and see what happens over time.

I was once told by an elderly woman who had two older sons, that she had gone into the welfare office to apply for food stamps. While giving her information to the the worker, she was asked if she had a boyfriend. She said, “Why do you ask that?” She stated that the worker told her perhaps, if she did, he could pay for some things she was in need of and she wouldn’t have to go to welfare and take the state’s money. She was torn between being offended and scoffing-laughing it off (due to her age). Mainly she was incensed about being denied what was her right to apply for and in the circumstances receive. I do not think Joy Womack is perhaps first in line to receive those roles, or like other dancers, she would be given them, maybe more readily if she were not American and had been trained there all of her life, i.e, was Russian. This is always the choice of the choreographer, the director, even producers. Russia is only recently a democracy of sorts, and their ways, regardless, are not our ways. But sexual harassment, and that is what it is, exists on every level of society, on every continent, where there are men, women, and women and men. People. Like being nice day, it may come to the point where we have a no sexual harassment day. People seem to become less inclined to adhere to basic moral and ethically precepts, sometimes I think the media’s focus on “anything goes” reaffirms this attitude in our youth.

If the experiences have hardened her, then she is growing up, for in the world it is impossible to be a woman (any woman) and not be propositioned, and it is impossible to be of any sex in the the art world and not be propositioned. You are not going to get very far using that complaint as a vehicle for promotion, though. I am not sure she is bragging or complaining, but I am sure she is publicizing. I think we would have had to wait a long time to hear of her being a People’s Artist of Russia, or Ballerina Assoluta, as those are Russian titles, and while she may be a topic of controversy and interest now, fame may not last long at a smaller ballet company. She would be wiser to move out of Russia and try to gain entrance into a reputable company elsewhere. If she is determined to stay in Russia, then it seems we will know little of what befalls her, and to what extent she becomes famous, for the world is not that small.

What also is apparent from when she began there, is that she has come into her own, at least in photographs, and she appears to have improved greatly from her training there. It also seems as though she has had her feet broken to increase her arch. I am reminded by the song of Meatloaf’s:
“And I would do anything for love
I’d run right into hell and back
I would do anything for love,
but, I won’t do that.” Of course, he is talking about lying, etc., but it is also a joke, many ambitious people have done those things and more. If her convictions are strong, she should start with correcting those above facts that have been misstated by her, or erroneously (uncorrected) by the press.

Methinks the lady protesteth too much. She can simply and graciously, refuse. But it is this society that tells us we must have to be told these things, have them iterated, like Ayn Rand, who accused Americans of being too altruistic, we have other people foisting off their notions of right and wrong. Wherever we go, we bring revolution, pestilence and war. As they say, if the fire is too hot-get out. I have often been in the position of having to choose to stay or go, and in certain situations, it is definitely better to go. I think her argument makes the point that she was offered a solo role, but that she would have to have a sponsor at the ballet to pay for that privilege as though she were not meriting the approval of general patrons yet. Perhaps this is an option for some dancers, and perhaps other privilege gives this inalienable right, such as lineage, pedagogy, position. money. It is not unlike what we have here in our own ballet companies, but perhaps we have more choice, more of a personal right to leave, go somewhere else, do something else.

We have seen a lot of Russian dancers come here, and a lot of them come and go now, but once upon a time, you could not go back. Those days are gone, although they are still very careful not to be too unflattering or caustic to one another, and especially what they say publicly, how they offend their countryman-they are patriotic. There are lines you do not (apparently) cross. But many ballet dancers here and in other parts of Europe have had promiscuous lives. As they are celebrities, we are not really surprised by this. It is hearsay for the most part and we would do well to remember that. They are not proved guilty.

Perhaps she is paving the way for her religious counterparts and fans (I dance for Jesus!) to support her in this mission, but they are too faraway to be there in actual support, perhaps she was reacting publicly to a private aside, for lack of anything else to report or say on the subject and perhaps she just spoke the truth.

But until she gets into a company which we can all see, the public will gradually lose interest as her American public will not travel to Russia to see her. Perhaps she has taken some of the steps required to be on her way to becoming a recognized ballet dancer, but as I haven’t seen her dance, I can only give relevant advice about her choices for promotion, theorize for the benefit of my daughter and others like her, whom she would possibly scare off from an opportunity to train in Russia, and their dreams of becoming great professional dancers. I believe it is still a zero tolerance situation, but would there be any arts business without these pre-held beliefs. Maybe the Russian ballet or other ballet flourished because of these reciprocal arrangements. Again, who knows-that is a subject for an historical study and not a mere opinion. But it is food for thought.

I believe this is a publicity attempt and is certainly a counterable circumstance-nothing which the media necessarily needs to be informed about-a private matter, unless it is my own daughter and I was in possession of all the facts-there is little to call fact here and it is unsubstantiated by other dancers, or those who would not risk their opportunities by coming forward. If indeed, Ms. Womack has done this, she deserves a sort of heroine status, so I am not sure where to categorize this post. For now it is chicanery, bourgeois, OPINION. I still believe the training has been been an amazing improvement on her abilities! But I would not break my feet-I would do just about anything but that (intentionally)….sleeping with the Director or a patron shouldn’t be a requirement either, for son or daughters.

tis the season to drink baileys | Setting The Barre


tis the season to drink baileys | Setting The Barre.