College of Marin Dance Performance--ID cant wait!!

 The College of Marin Concerts are a great place to see the" nuts and bolts"  of what it takes to create a dance and to make a dancer. Its been a thrill to watch several of these young artists grow into skilled performers. Its also inspiring to watch "first timers" go through unique experience of rehearsing within the choreographing process, and finally performing.

My guess is that these individuals, whether or not they go on to become "professionals,"  will be an important part of the next generation of dance and theater viewers; makers; and shapers.

Fall 2013 Dance Concert

November 1, 2, 8 and 9, 8 PM
James Dunn Theatre, College of Marin, Kentfield Campus
(Corner of Sir Francis Drake Blvd. and Laurel Ave.)

Choreography: College of Marin Dance Faculty
Production design: e.”Ernie” Ernstro

Featuring Guest Performers:
11/1, 11/2
Branson Dance Performance Ensemble, directed by Georgia Ortega
11/8, 11/9
San Domenico Dance Ensemble, directed by Erica Smith
11/1, 11/2, 11/8, 11/9
Primus Ballet Theatre presents the world premiere of Allegory of the Cave choreographed by Cole Companion

Box Office 415.485.9385
$15 general; $10 students/seniors

Pilates Private

 Well ID finally had her first private Pilates at the Pad Studio in Bon Aire

ID decided she would use this private session on the reformer to get more information about her persistently wonky knee. What did she find?

Becca, my instructor, is also a part owner of the studio and we decided my goal should be rehabilitation for reintegration. She watched me execute every exercise specifically targeting knee imbalances with an eye to developing even strength and flexibility. She held my knee and we pinpointed exactly where the cricks cracked.

We closely monitored how my body responded to the strategic usage of the reformer's pulleys and wheels highlighting unevenness in my legs and torso that was readable even down to my feet.
It’s different than being at the bar and looking at how your knee turns in or in a physical therapist office and doing an exercise. It’s as if you are encased in an instrument inside a controlled environment and from there can monitor closely what will my IE/ID body will do.




I learned some important IE/ID patterns. For instance, I rarely ever let my left ball of my foot down completely. I am often sitting on the outside of my feet so I can move more quickly to the next position.

Part of reintegration is realizing I am where I am, and appreciating the differences that are a part of that now. There is no visiting class teacher/ hot shot choreographer to impress. There is my body, to use and to live with. That is the  place to work from now.


“There is a greater power in listening to the body rather than telling it what to do.”  

Ohad Naharin, October 2013, Dance Magazine

October's Timeless Dancer

Who you were and who you are


Autumn in northern California 

is a sort of now-you-see-it-now-you-don’t-event. My garden is in its last frenzy of blooming, with the pumpkin making a last few tiny green bulbs; lettuce and wildflower seedlings several inches tall, hopeful. But if you look closely, it’s not a lush green, but a far paler solemn, yet determined green, as if pacing itself for the last harvest. The hue betrays a simple but deep confidence. 

 

It’s a little like the dance class I took last night. Everyone, except the teacher, was over 40; many of us former professionals, all of us dedicated aficionados.

I had a vision, like these shadow dancers:

except there were no shadows.

We were doing rhonde jambe en l'air—

And I looked around the studio and my eyes fell on Bob—maybe sixty?—with his incredible dancer physique. It wasn’t his body I saw though, it was something else. It was Bob in another time.  He looked different, lighter, but still intense, perhaps a more composed, gentler version of himself from long ago.

We all have these timeless moments, but this one in the dance studio with its layers of mirrors, music, counts and the combination, was magic. There was a mist that covered us all so we could all be in that place, like Bob, in our own timeless bodies for a moment. 

Somehow we finished the barre, and went to the center for the final adagio. It was a little tricky, as I haven’t been to a ballet class in some time. 

But Bob in his not-to-be-forgotten-danseur-noble-persona stepped in; 

“You know, Susie, I can partner you in that turn." 

It was only a class, but I went home on air.

 ID