Tag Archives: wedgies

Sha-duh-duh-duh-duh-duh-duh-duh

5 Jun

As “13 Feats” is ongoing, a little insider info:  According to Magelas, the costumes for the piece she’s in are wedgie city, or as I like to say “won’t you take me to…doododo…wedgie toooooowwwwn!”  (front and back if you know what I’m sayin) Turns out dance costumes aren’t always the most practical for comfortable movement. 

Now that the quarter is over, I almost forgot to mention that *I* performed(ish).  I took a class, learning a ballet piece entitled “Vivaldiana,” choreographed by Jon Rodriguez of Dayton Ballet.  Several graduate students (among them, the celebrated Jelena Danyushka Baraksanova) learned the piece via labanotation score (aka migraine inducing dance hieroglyphics…seriously, it’s like looking at a bunch of crop circles and Nazca drawings to the untrained eye), and as part of their academic development, taught it to us unsuspecting victims.  I say victims, solely because of this heinous faux pas de bouree step with Fosse inspired arms that tangles your feet and ends in tears.  I nearly wiped out on it many times, and the panic was always written all over my face when I knew it was coming up.

Set to Antonio Vivaldi’s Double Violin Concerto in A minor, but with a different third movement, I was initially unimpressed by the epically snail paced tempo.  As an orchestra snob, I like things brisk and lively, even if they aren’t supposed to be.  I found recordings of the same concerto that were at least a minute faster in each of the three movements, and from a listener’s perspective prefer them.  However, due to the sadistic, twitchy pas de bourees, I have reevaluated and accepted the purpose of the slower tempi.  Mr. Rodriguez, you win…for now.

This was probably what I would call my first experience in really learning a dance.  I’ve performed in OSU informances (informal performances), in various pieces choreographed by the graduate students teaching the classes I took, but it’s not like I had to be good.  This time, I had to be a little more intense with my approach, which was a new and appreciated change of pace.  It makes me want to do more with dance (even if I am a spazzy, smiley, entertainer at heart.  Did I mention I get terrible stage fright?).

Classes culminated in an open rehearsal where we ran what we knew of the piece (the first movement we were unable to complete) and what a thrill that was.  A couple of friends, including Totos came to watch, and she totally gave me the best compliment ever when she asked me when did I “become so fierce?”  Cloud 9!  Once upon a time we took classes together, and then the little princess went away to do an internship at Disney World, and her current schedule is way too messed up to have any time to dance.  During the spring of many moons ago,  I was BAD (Totos however, is gorgeous).  It was my first advanced ballet class, and I was a train wreck.  I remember actually kicking Totos in the face when we were doing a penchee at barre, and lifting my eyebrow in utter confusion when it came to petite allegros.  So for her to recognize how far I’ve come was like getting a free Der Dutchman chocolate chip cookie (only those who have partasted would know such pleasure).

So muchos thanks to you, Totos, my love for your support and awesomeness.

And I conclude today’s entry with my new favorite sound effect for life, “sha-duh-duh-duh-duh-duh-duh-duh.”  It is universal in meaning, and applies to all forms of dance. 

Shimmying in jazz?  Sha-duh-duh-duh-duh-duh-duh-duh. 

Shaking your booty in hip hop? Sha-duh-duh-duh-duh-duh-duh-duh.

The beginning of the first movement of Vivaldiana? SHA-DUH-sha-duh-duh-duh-duh-duh-duh-duh.  

And what exactly is a gargoulliade in ballet?  Why it’s simply a pas de chat where midair your legs go “sha-duh-duh-duh-duh-duh-duh-duh.” 

A 3-toed sloth wiggling his fingers at you?  Sha-duh-duh-duh-duh-duh-duh-duh.

Take it, don’t leave it, enjoy and spread like peanut butter.