CRAFT & SPIRIT

CRAFT AND SPIRIT

The Nutcracker Prince

Another moment came to try something new, and I took it. I can’t say no to a challenge. Marden Ramos from Richland Academy of the Arts (RAA) approached me half-serious, half-joking about The Nutcracker. If he couldn’t find anyone, he wanted me as the Nutcracker Prince. I gave him my regular non-commital “Ohhh who’s to say. Maybe, maybe.” that I give in response to in-person gig requests (Even if it’s nonserious). I did tell him I think it would be interesting to dance in a ballet, besides, I’ve never done it before. The night ended, and a few days later I got an official ask from Sarah Horrigan-Ramos in my email titled “Nutcracker!?”

I gave it a few days thought. As time goes on I get more intentional with the work I choose, but 3 major justifications came to me:

• I’ve been wanting to improve technique, so what better way to do so in the context of a looming ballet performance? I obsess over quality, so training will follow naturally.

• I get to partner, and I’ve always wanted to learn how to do so.

  • In this came many more justifications. For example, the physical aspect of partnering created a tangible philosophy and allegory to life and those who are in my life. (We could discuss this soon if you’d like)

• I’ve never danced in a ballet before. This was just the level of “outside my comfort zone” that I constantly seek. I adapt best by diving into uncomfortable situations. Most people do.

So I said yes.

This was Oct. 2nd. A few days later I was taking dance classes every week and rehearsed weekly with Sophia, my wonderful dance partner who played Clara. I’d be remiss if I did not formally thank Sarah and Marden Ramos in this writing for their mentorship and their trust in me. They also gave me the opportunity to find this art form anew and to remember why I loved dancing so much when I started in college, and why I fought so hard to become better.

Ballet carries with it intentionality. Though I only got as far as I could in the span of a month and a half, the work tended to come down to very fine details. I wish I could jump higher right away, I wish I could get my legs into a split in my tour jeté, and I wish I could perform thousands of pirouettes. Yet all I had was what I had at the moment, at the level that I was.

So my training became for the first part, a practice toward greater length, turnout, physical ability, and mobility. The pacing at which I improved could not be fully controlled. I had to attend to recovery, and forcing flexibility too quickly would cause other problems. I had to listen to my body and improve at my own pace.

For the second part of my training, I focused on what I could control. Do everything you can do now as best as you possibly can. I can elongate my hands more, apply every ounce of acting training to this, lift myself and others as the Nutcracker Prince, and definitely point my foot more in that tour jeté, even if I can’t get the split. I can attend class and work with Sophia to master this pas de deux, this dance for two, and we can communicate to improve each other.

There’s no way that I can go back in time to start dancing earlier, so all I can do is master what I can master and strive to be better every moment that I can. When it came time to perform, I felt I had done everything that I could. Even though there were things I noticed, I knew it was a far cry from where I started in this process.

Now, thanks to Sarah and Marden, I get to continue this training.

CRAFT AND SPIRIT

Moving Forward

Many people pass through a small town and fail to notice the gold that’s in the area. Overtop is a smog of old industrial townships with quite a few abandoned buildings. Yet sometimes, if you stop to stay for a while, you stumble upon incredible mentors who have happened to build their homes in this “small town.” The education they provide is invaluable to me and others, and I’m lucky to have both Sarah and Marden who are experts in their craft to guide me.

I do plan on continuing, as much as I can, with the strength I have now. I’m thankful that Sarah and Marden are allowing me to continue my training with them and because of their generosity in this I will train as much as I can. There’s a level of work ethic that comes from this particular art form, and it’s tangible, unlike acting, which I’ve spoken about being a tad intangible.

My intentions to improve my craft have been moving toward the practice of embodied movement. Crafting and discovering character through a psychophysical connection, traversing this exploration of art through the outside in: body → soul, and inside out: soul → body. My work with dance and movement, and the furthering of my body will only help me in creating a more fully realized and holistic piece of art. so my practice has only just begun… again :).

CRAFT AND SPIRIT
My Curiosity