what a lovely pic

n584161285_1919018_330.jpg
I just had to share this lovely photo of two of my friends. I would have blogged it straight from flickr, but couldn’t. You can see it here, but make sure you check out the rest of this photographer‘s amazing pics.
This is a good bud of mine who’s living in New York, though she’s been living in London for a few years now (four?). The guy is another friend, an American who was living in Melbourne but now lives in the Netherlands. I love this pic because of the shapes and pose (they weren’t actually posing – just dancing), but also because I love the expression on D’s face. She’s having so much fun. We miss her a lot, but we’re also proud she’s off being jetsetting Woman of Business. This photo also makes me a little bit sad, because it’s all the things I love about dancing – having fun, being creative, figuring things out, making beautiful shapes, experimenting with weight commitment and leading and following. I also like the way G hasn’t dragged D over too far – he’s actually extended his arms. And that’s something a lot of guys can’t seem to manage (often because they carry far too much tension in their shoulders and just _can’t_ extend that far). I also like it that they’re wearing normal clothes, not vintage gear – this is everyday dancing for everyday people.
So I like this photo a lot. Nice framing, nice light – just the perfect moment capturing two lovely people doing something they both love very much. Sigh.

yay yoga

Well, things are kind of boring over here in boring town. If only boring people are bored, I guess I must be pretty damn dull. I like it that the weather’s cooler, and it makes me want to get outside and ride my bike. But it’s also raining, and that’s not much fun in a hilly town when you ride a bike with skinny, slick tires. It’s weird to be wearing trousers again. It’s been months and months.
bksi.jpgOn Monday I went to yoga for the first time since I’ve been here. It was so nice to be yogaring again, I smiled involuntarily all through the class. That could have been the endorphines speaking. The studio is very close to our place – only 10 minutes door to door (including time spent wrestling with the garage door and my bike on our steep drive way). I do have to ride down a very steep hill, then up another very steep hill, but I’m hardcore now, so that’s ok. In fact, I can’t believe what a baby I was about hills in Melbourne – there’s no way I could ride _anywhere_ here if I couldn’t handle hills. But I can, now, because I am badASS.
So yoga rocked. It’s Iyengar, and it’s a baby class, but I need that babyness. I am so out of condition. My poor foot got a bit of a workout, though, which is ok. Lots of standing poses which I usually love, but which were a bit intense for my poor plantar fascia. They did give my ankle a good stretch and flex, though, which is really important. Now I understand why back bends (where you sit on your feet, knees bent, bum on your heels) hurt so much – my ankle doesn’t bend enough. So some of those sort of poses freakin’ hurt, but my ankle needs to be worked a bit so I can get greater movement and – consequently – ask less of my plantar fascia.
The studio was small, which is ok. The cost was only $15 per class, which is good. The class itself was nice, but we didn’t do any partner work (waaah!) and we moved through poses a bit quickly for my liking. I like taking a long time to get into a pose, holding the pose for ages, then getting out of it slowly. I like the slow, careful movement because it makes me really _think_ about the way I’m using my body. It’s also a lot harder and makes my muscles really work. It was strange having a female teacher. You know, men and women have different bodies? And their muscles are differently proportioned? That’s some wacky shit.
Basically, I feel freaking GOOD in my body today, even with the second-day-after soreness. It’s a good soreness.
At any rate, I’d like to go back tonight, but I should probably give my foot a bit more of a break between classes. Though I think it’d probably be ok. Heck, I could justify my way into going back. So long as it isn’t raining when I want to leave.
What do I like about Iyengar?
I like the precision and emphasis on alignment. I am a big old biomechanics nerd, particularly in regard to dancing, and I’m fascinated by the way Iyengar develops your awareness of your muscles and tendons and fascia and bones and bits. I like the way it micro-focusses on poses, and the way you learn to do them perfectly. Because I have a bunch of knee and hip problems usually, I like the way Iyengar’s emphasis on having everything properly aligned (foot under knee under hip under…) teaches my body to hold itself properly and get over bad habits.
I like the props. I like using all the blankets and bolsters and belts and things. Partly because I like making cubbies, but also because props actually make poses easier. A belt holds you in place so that you can get used to how a pose feels. But you can adjust the belt to a hold that’s comfortable, so it’s not freaky. Bolsters and blankets can help you with a pose that might otherwise be too strong – they give you an easier version of a pose.
I like being adjusted by the teacher. I like having that one-on-one attention because it helps me learn. It’s also nice to get that attention in class and to have someone put their hands on you. I like working in pairs for that same reason. I like the physical contact because it’s helpful to have someone actually put your body in the right position, and because it’s just nice to work skin-on-skin with someone like that. I like working in pairs because it helps me learn – you see how someone does the pose, then you work together to make the pose work properly. I also like assisting the person doing the pose and seeing from the outside how it’s working. I like having a partner when I’m in the pose because it makes it easier. It’s also nice to work with other people on this stuff – you can talk through a pose and experiment. It’s less scary as well, and it’s reassuring to have someone else to work with. And it reminds you that everyone has completely different issues, so it’s ridiculous to compare yourself to anyone else. And that reminds you that yoga is about developing your own awareness so that you can be on better terms with your own body.
I like the slowness and the emphasis on holding poses rather than rushing through them. I like the challenge of holding a pose for a long time – it’s like resistance training and lifting weights, but without props (ironically). It’s challenging. But it’s also really satisfying. I like it that my own body is enough to provide a really challenging work out. And that I can learn to use my body in a way that lets me lift my own body weight.
I like it that yoga thinks about muscles (and bones and so on) as a complex system of parts. Unlike doing weights at the gym, where you tend to think of muscles individually. When we lift our arms out to the side in yoga, we think not only of our arms, but of how our feet are placed on the ground, how our legs are positioned, how our pelvis is sitting, how the muscles in our sides, back, neck and so on are working. All this to hold our arms out straight to the side. And of course, because you’re holding all these muscles in place, you’re really working, so your heart pumps and you’re generally giving good ‘resistance training’ style effort. I really like the way yoga makes you use the right muscles for the right job. Just as with dancing, you use big muscles for big jobs and small muscles for small jobs. And you always start from the ground up. I think this is why my foot injury upsets me so much – it makes it so very clear that you can’t dance properly without proper weight commitment. Your feet are so very important.
I like it that Iyengar is good for injured people. Injuries at dancing mean sitting out for a few months. Injuries mean going to yoga to help heal. I like it that everyone can go to iyengar yoga and participate, no matter how old or infirm or injured they are. It can be as gentle or as strong as you need or can bare. I think this is the most important thing for me at the moment. I’ve been spending the last few months thinking of my body as fucked up and an impediment to my independence. But yoga reminds me that it’s not actually fucked up, that I can still get on and do things and be in it and enjoy it. I just have to respect its limitations. So with yoga I can still go and spend an hour sweating and working really hard, and not be told that I’m ‘broken’ by those same limitations. I think it’s this sense of confidence and respect for my body (rather than resentment) that is most important for me at the moment.
I like yoga very much.
It makes me feel so good. It stops me thinking for a couple of hours.
It’s gentle and non-competitive, which is nice after dancing.
It’s intellectually stimulating and I learn a lot. But it’s learning about myself.

mercy dee walton’s Pity And A Shame and mildred anderson’s No More In Life

mdw.jpg
Finally, my emusic month rolled over, and there was goodness to be had. Unfortunately 50 songs doesn’t go that far when you have a wish list as long as mine. At the moment that list is divided equally between spankin’ olden days jazz from the 20s and 30s and saucy hi-fi blues from the 50s and 60s. Well, actually, the list is weighted towards the olden days stuff. Because I just can’t get enough of the Chronological Classics – it’s a little bit exciting to have them available.
Mercy Dee Walton’s Pity and a Shame is making me very happy. Hi-fi 60s blues, piano + harmonica + vocals. Kind of sparse instrumentally, but with a big, fat hi-fi sound. Perfect for blues dancing. Also, fixing my need for saucy blues.
mw.jpg
Mildred Anderson’s No More In Life
This woman has an amazing voice. I’m also enjoying the superior quality of these recordings: stereo! It’s been a long time since I bought something in stereo. It’s a bit exciting. And caught be my surprise, the first time something different came out of the second speaker. Both are from the Fantasy/Prestige label on emusic. This is some special stuff.
I’m also thinking of both these with blues dancing in mind. Not mine (as I am still MIA with fuckingshit injury), but other people’s.
You know, it’s actually a lot easier finding music for blues dancers. The time period is looser – I’m working between the 20s and the current day, though I’m heavier in the 20s, 30s, 40s, 50s and 60s. There was just such a wealth of nice, fat blues action recorded. The swinging stuff I need for lindy hop (mostly late 20s, 30s and 40s, with some time in the 50s) is a lot harder to find, and it’s also a lot trickier to judge the quality. Quality as in recording quality, but also (and more importantly) quality for actual dancing. Perhaps my standards are just lower for blues dancing. Or perhaps Australian blues dancers just have lower expectations of their DJs. At any rate, with all this lovely blues music available (and relatively easy to find – both online and in music shops), why is it that we have to listen to bullshitty ‘blues fusion’, trance, etc at blues dances? I know other people are into it, but it just shits me. If I wanted that action, I’d go listen to some decent DJing by hardcore trance/fusion DJs who really knew their shit. And I wouldn’t be dancing the naff blues partner dancing to that shiz. No way.
… I guess I’m a little cranky about this stuff at the moment – I can’t dance to anything, so it’s horrible watching people waste their lucky dancingness on bullshit music.
Sigh.
I am cranky.

Introducing the Rhythm Club All Stars

rcas.jpg
I can’t really be bothered writing about this, beyond “want!”.
From the site:

Introducing the Rhythm Club All-Stars . . . a brand new, super swingin collective specializing in jazz from the 1920s and ’30s. True to its name, the RCAS is an all-star aggregation that features some of the top professionals on the Southern California scene. Led by internationally renowned drummer Daniel Glass (Royal Crown Revue, Bette Midler, Gene Simmons), the RCAS also include guitar wizard and vocalist John Reynolds (Cab Calloway, Janet Klein), bassist John Hatton (Brian Setzer Orchestra), and horn master Corey Gemme (Johnny Crawford, High Sierra Jazz Band) on cornet and trombone.
Combining vintage instruments and a classic look with a period-perfect sound that swings like crazy, the Rhythm Club All-Stars offer an authentic, high energy retro experience that has quickly become a favorite among Los Angeles area swing dancers and corporate clients alike.
The band’s debut CD features a wide variety of classics, from the familiar (“Honeysuckle Rose,” “Blue Skies”) to the obscure (“Old Joe’s Hittin’ the Jug,” “Digga Digga Doo”). But it’s the band’s hard swingin’ approach and unique arrangements that bring new life to this material. Check out the moody cadence of “Caravan,” the fiery brushwork on “Jeepers Creepers” or the virtuosic banjo playing on “Digga Digga Doo” and you’ll find yourself screaming for more. This is one disc not to be missed!

CDbaby pleases me: wonderfully prompt service, great products. Yes.

sigh. dance torture.

Sitting here, drowning in self pity for my own inability to dance, I’ve been torturing myself watching dance clips. Of all the competition footage I saw from/during last year, this one of Stefan and Bethany at ILHC is the one I keep watching. Not so much on the lindy hop, but chock full of interesting (dare I say eccentric?) jazz. I like the way they’ve used a fairly unconventional song for a fairly unconventional routine. One of the trickiest parts of dancing a revivalist dance is coming up with new and interesting choreography (actually, I guess that’s the hardest part of any dance). But this one is really interesting. It’s not perfect – there are a few things I’d have liked to be a bit tighter – but it really reflects the dancers’ personalities. I tend to watch Bethany more than Stefan (as Pat said, all those years ago, “Don’t wear black to a performance” – you just blend into the background, especially on a night with bright lights and serious contrast between the lit and unlit parts of the floor), but Stefan’s really lovely in this as well.

Sigh. At least I’m back on the bike now, though – fitness will return and I’ll be ready for a return to uninjuredness. I am, incidentally, off for an MRI on Tuesday (tomorrow) followed by another appointment with the specialist on Wednesday. If the plantar fascia is torn (as is suspected), then I’ll be wearing a corrective boot to keep it immobile for a while. If it’s not torn, then I’m to get to some cortizone. I should be on anti-inflamatories, but I just forgot to pick them up on Friday. I am a dumbarse for that, of course. Either way, no dancing for a couple more months. This is excruciating. I haven’t gone this long (four months) without dancing in ten years. But I’m trying to be philosophical – perhaps this prolonged break will bring me back with renewed enthusiasm and inspiration. Perhaps I can come in rough and do some serious learn, side stepping my bad habits. Perhaps. Either way, I’m glad I’m back cycling, as it was killing me going without exercise. I’m also back into yoga next week (had planned last week, but the doctors’ appointments have managed to screw with my Wednesday evenings).

al minns

Here‘s an interesting clip – Al Minns dancing in 1980 in NY. I’m not sure who the dancers in the background are. There’s another one of Minns in the 80s here. It’s interesting to compare his style with Frankie Manning’s:

…and it kind of blows my brain that they’re both in about their 70s in the later bits of the clips. Frankie is 95 this year (check the site for more info) and it’s a really big deal – as you might expect.
I’m more of a Frankie fan (guess that makes me second generation) – I like the bounce and the low, ‘flying’ style Frankie has.