LJ Idol LPF Week 10
Dec. 29th, 2018 03:16 amBallet Lessons
At 4,
she took me on a safari:
her arms, her eyes, her voice
lifting our heels
“Up!
Up!
Tippy toes!”
to reach for birds of paradise
flapping freely
through the bleeding oil paint sky
that was surely
just beyond the ceiling,
just beyond the air pocket
between my grasping fingers.
At 5,
she was a funny witch
(not a mean one—
cross my heart X);
she turned me into a frog!
“Ribbit!
Ribbit!”
we cackled,
our froggy legs bending,
hips dropping
“Lower!
Lower!”
until our heels lifted,
only our slimy
webbed toes
balancing
on surfboard lily pads
until we lost our sea legs
and plunged into the oily depths
beyond Monet's vantage point.
At 10,
she was a drill sergeant,
cruel, thin lips
pulled as tight as her bun,
jaw unclenching
only to yell at us—
at me—
“Chin down!
Shoulders back!
Suck in that gut!”
But I didn't mind;
I had seen
the glory of her warpath:
heels lifting,
toes carving the battle lines,
one long cannon of muscle
piercing the sky.
She was
all the strength
of the world.
I vowed
to always
march
behind her
since no one
could walk
beside her.
At 11,
she was a bitch.
I told her I wanted to quit
and she just said
“No.”
At 12,
she was Gepetto.
All the real dancers
had been turning for years—
their robotic bodies
executing inhuman feats,
well-oiled
overly shiny
automatons
whirring and whirling
in a perpetual motion music box.
My peers and their pirouettes.
Freaking perfect freaks.
One class,
I held it in
until they left
and sobbed to her
“Why can't I turn?”
She wiped my cheek
and led me to the barre.
“Let's see what we see.
First position.
Plié.
Relevé.
Passé.
See here?”
The lightest touch
on my side.
“You're caving just below the ribs.
Readjust.
Find your center.
Stop thinking
about the momentum.
Stop thinking
about failure.
Stop thinking.
Feel up.
Feel down.
Feel the crown of your head
pulling you into the sky.
Feel your weight funnel
into your toes
and push down
into the floor.
No, really push.
Push the earth down
and away.
Pull up
and push down.
Balance
through opposition.
Stillness
through conflict.
Pull up
and push down
and become the line
from Earth to Heaven.
Now.
Fourth position.
Plié.
Go.”
I turned
and the cosmos
did too.
At 15,
she was my sister.
When Degas
looked at me
a little too long,
a little too closely,
she pulled me in,
her lips rustling
the hair by my ear
as she murmured
cuttingly
“Let me know
if he needs
a front row seat
to The Nutcracker.”
At 17,
days before my audition,
days after my accident,
she was my visitor.
She stood tautly beside my bed
and I could barely look at her.
“It's bad,"
I managed.
Someone smeared
my legs
in garish hues
of oil paints:
Burnt Sienna,
New Gamboge,
Cadmium Red.
“I won't dance again.”
I could almost hear her
shake her head.
“Nonsense.”
“It's not humanly possible.”
“We're dancers.
We don't have to be humans.
We can be swans.
Or fairies.
Or Valkyries.”
At 46,
I was her visitor.
I sat beside her.
She was so small—
skin sinking into air pockets
between bones.
Bones sinking into
sterile sheets.
Heels sunken.
She stirred.
“Oh, it's you…
my little frog.”
I rolled my wheelchair
to the foot of the hospital bed
and held her feet.
“Do you feel that?”
Her ribs barely rose with breath.
She didn't respond.
“Chin down.
Shoulders back.
Breathe.
Readjust.
Find your center.
Feel the crown of your head
pulling you into the sky.
Feel the weight
funnel into your toes.
Feel up.
Feel down.
Up.
Up.
Tippy toes.
Push the earth
down
and
away.”