My Running Community

My Running Community = My Running Family

Melissa Adylia Calasanz of Controlled Burn Fitness
with Team ARC Party Pace at the Pasadena Marathon 2012

I never set out to become a "runner." My running life came to be, through beautiful "guilt by association." Thanks to the years of helping runners care for and prevent injuries, it "just happened." I am proud to hold the title of "runner,” even on the days I am more of a sleepwalker. My fellow runners, of all ages, shapes, sizes, paces, and abilities, have become an amazing family! In fact, it is through running that I found my wonderful husband, Andrew Calasanz.

Melissa Adylia Calasanz of Controlled Burn Fitness
with Husband, Andrew Calasanz in the beer garden
of the Surf City International Marathon 2013

Our running friends and family are as supportive as they are entertaining; they are driven, and they are accepting. If you’ve ever participated in a running event, or been a spectator, you know how encouraging fellow competitors, participants, spectators, and volunteers can be. You'll see spectators cheering for strangers, and becoming fast friends with the people cheering beside them.

On Monday, April 15h, 2013, I realized how much I love my running family. I found out about the explosions almost instantly as my friend Shane Mundy posted the following on his Facebook wall:

 “I heard a loud explosion and [Allison] just called and it's looks like a bomb may have gone off < This has turned bad”.

The following is part of the thread that followed:

Shane Mundy OMG Fire and Police sirens going every where

23 hours ago via mobile · Like

Melissa Adylia Calasanz For real?! oh no! Be safe! Hugs to you and your family!

23 hours ago · Like

Shane Mundy it's pretty scary , they are stuck out there

23 hours ago · Like

Melissa Adylia Calasanz where? 

23 hours ago · Like

Melissa Adylia Calasanz OH SHIT!
http://www.myfoxboston.com/story/21982342/apparent-explosion-hits-near-finish-line-of-boston-marathon

Apparent explosion hits near finish line of Boston Marathon

www.myfoxboston.com

An apparent explosion has hit the finish line area of the Boston Marathon.

23 hours ago · Like · Remove Preview

Shane Mundy in the marathon crowd , they went over near Fenway to see me

23 hours ago · Like

Shane Mundy OMG it's crazy , i was only thinking yesterday about this , it's always on your mind

23 hours ago · Like

Allison Mundy Thank god frank. It as so horrible masses of people running. I didn't know where to go with my kids

23 hours ago via mobile · Like

Shane Mundy Yes we are all back i the Hotel and we won't be moving far , Allison was very close and got caught up in the crowds running the other way

23 hours ago · Unlike · 1

Allison Mundy Two bombs gone off. Gruesome injurys. No deaths yet please god

23 hours ago via mobile · Like

Shane Mundy 2 BOMBS went off on the finish line , lots of people killed , Allison and the kids caught up in the panic of people running

23 hours ago · Like

Allison Mundy At finish line of marathon

23 hours ago via mobile · Like

Allison Mundy Thank god my children were with me and not off shopping. I didn't know where to go

23 hours ago via mobile · Like · 2

Luckily, his family was able to quickly make it back to their hotel, but not after witnessing some of the horrible injuries.

Just moments before the above thread began, I had just commented on a picture that Shane had posted, of himself, standing proud, wearing his mylar blanket, medal, and a smile.

Shane safe and out of harms way just minutes before the explosions,
after finishing a 3:18 at The Boston Marathon
Photo Credit: Shane Mundy

I spent the rest of the afternoon making sure the rest of our 30+ running Friends/Family were safe and accounted for.

Thankfully, they are all safe. J

Sadly, there are so many more that are not. L

 Though running is a solo endeavor, it is absolutely a “team" sport. Regardless of whether you're team is elite, club, or a collection of all the voices in your head, or perhaps your part of the team that supports these runners, you are a part of an amazing family…a family that is not only amazing, but also strong and resilient.

Wishing strength and hope to everyone who has been touched by The Boston Marathon tragedy.

-Melissa Adylia Calasanz

OUCH! My Left Foot!

Car doors, shovels, and my left foot

are NOT a good combination

If you ever have an altercation with a car door on the same day you have an altercation with a shovel, don't think you can just "walk it off" and that "it's no big deal," and most importantly, do NOT go to a 2 hour dance class 2 days later or you will have issues...very big, bad issues.

Time to wag my finger at myself and say: "Be kind to your body!"

On Tuesday, I really clobbered my foot on the car door...thought nothing of it-figured it was just really bruised and tender...had to take my flip flop off to drive even though my flip flop wasn’t even touching the part I hit...thought nothing of it...

When I got home, I started gardening. I had put on my garden shoes. I had totally forgotten about my foot. I started "turning" my compost. As I was stomping on the shovel, the foot that I had hit with the car door tried to remind me that it had been hurt already and didn’t want to be hurt anymore. I figured, I had hit the top of my foot on the car door, and I was using the bottom of my foot to stomp the shovel, so I couldn’t possibly be doing anything really bad to it, right? I figured it was just bruised, and I sadly pretty much ignored it, and kept on shoveling- but using the other foot to stomp on the shovel.

Well, I shouldn’t have been out there shoveling, digging, pulling, no matter what! I wasn’t listening to my body. I always tell my clients “if your body is sending out pain signals, listen!” Sadly, I wasn’t listening.

But the shovel was paying attention.

And the shovel was gonna try to teach me a lesson.It was about to beat some sense into me about listening to my body.

As I was walking back to my compost pile, with some goodies to throw into it, the shovel decided to fall over-ON MY FOOT! L OUCH!!! By the time I had finished up with the compost, the foot was REALLY painful…

Later that night, I couldn’t wear any shoes, so I shuffled around in socks and was kinda ok, until I realized that my gait was super wonky and my foot was kinda dragging. I took a closer look. No bruising, no swelling, nothing. So I just typed my paper and went to bed.

The next morning when I got up to get ready for school, my foot was not cooperating.

(In hind sight, I wasn’t cooperating! My foot was doing its best to do what I asked. But it was in pain, begging for some kindness and understanding. But I wasn’t listening to it! Dear Left Foot, I am sorry. L )

I put on a pair of shoes, thinking I should probably wear something more substantial other than my flip flops. The shoes were not a “hit” with my foot. I should have at least listened to my best judgment (since I was not listening to my body) and not put the shoes.  I should have stuck with my (and my feet’s) preferred footwear-flip flops or my “super-sexy” TEVA sandals and socks.   

As I walked to my car, and during my entire hour and fifteen minute drive, my foot was really uncomfortable. The top of my foot was really tender. I even took off my shoe half way through the drive to school. I just figured it was bruised. I put the shoe back on for my walk down the hill at GCC, on my way to ballet class. OUCH! Not only did the top of my foot really hurt, I had a shuffle/drag to my step. L Now, a shuffle/drag could be a good thing, if you’re a tap dancer! But I was not trying to tap dance! I was on my way to a ballet class!

I did one good thing:  I took the day off from ballet class that day, and got to enjoy doing an observation/assessment/presentation instead.  I really wanted to dance, but I figured, if I took the day off, my foot would be fine the next day. Sadly, as I walked back up the hill, I was having second thoughts that one day off would be enough.

That night, my foot was still wonky. But I barely noticed it since I was sitting all night typing.

The next day, I headed off to Jazz class wearing my flip flops, and didn’t really notice anything till I started the 2 block walk to class. The foot was still a little tender, but what really bothered me was my shuffle-y gait-as if my left foot was flopping/dragging along.  Uh oh.

Sadly, I pretty much ignored it and figured it would feel better once it warmed up during class.  About ten minutes into class, I noticed that not only was it not working, there was some swelling.  I even walked up to the teacher and mentioned “I really clobbered my foot with a shovel the other day…” perhaps hoping for some “permission” to sit the rest of the class out so I wouldn’t feel like a “has-been,” lazy-ass old lady. My mention of the shovel incident was pretty much brushed off, and I felt as if I was overreacting to it too, so, like a complete asshole, I acted like an average person and ignored my body and finished class. By the time I took of my shoe, there was some really noticeable swelling.

I kept checking it out throughout the rest of the afternoon and evening, but I was still baffled. Though it was painful to touch and a bit difficult (actually, really difficult) to flex my foot, I was able to point my foot perfectly. And there still was no bruising! Bizarre! I decided to rest my foot for the remainder of the evening and take it easy the next day.

Well, yesterday was the “next day,” and I did take it easy. I only walked from my car into the bank, from my car to into Whole Foods, and then I headed off to the library. As I was getting ready to walk into the library, I knew something was really wrong...this funky pain, this floppy foot, and the creepy-crawl-y feeling when I tried to flex it had to be more than a bruise. I went right back to my car and called Kaiser. Got an 8:20 appointment...exam, xray, all the good stuff.

GOOD NEWS: I have amazing feet!!!  Super strong bones-excellent bone density with excellent alignment and no signs of arthritis or degeneration- the Dr. was surprised; she said: "for a dancer and a runner, I am surprised you have such strong and healthy feet!) 

BAD NEWS: Sadly, since I didn't listen to my body, and I down-played my pain, thinking it was just banged up, I've really done some damage to the tendon on the top of my foot and the surrounding tissue.

DIAGNOSIS:

"TRAUMATIC INJURY OF FOOT." "This patient is placed off work from 4/12/13-4/27/13 and "Avoid weight bearing for 2 weeks."

GOOD NEWS: It wasn’t dancing or running related.

NOTE TO SELF: "practice what I preach and listen to my body when it is in pain!"

Grrrr, I've been a bad girl and will now suffer the consequences.

The next two weeks are gonna be "interesting." :/

ON THE BRIGHT SIDE: I have 2 great books that I have to read for my Critical Perspectives 2 Class!

Wishing ya’ll a Happy, Healthy, and Ambulatory Day!

J

-Melissa Adylia Calasanz

of

Controlled Burn Fitness

Disciplined Indulgence

Chez Calasanz

I'm Not Depressed, I Am Just Honest

Please correct me if I am wrong

I see myself as a pretty upbeat, thoughtful, and inspiring person.

Am I delusional?

Me, Melissa Adylia Calasanz, striking one of  my signature poses...
Hmmm, is this what a depressing person, with a poor self image, looks like?
Well, I guess so, if I am supposed to believe what I was told yesterday...
:/

Last week, I was assigned to do a Self Critique of my performance during my skills test for the Jazz 3-4 class I am enrolled in at Orange Coast College. (You can read  the essay in my previous post, "A Reflection on My Journey Back to Dance") I believe I did a very thoughtful and thorough "Self Critique."  However, the Jazz teacher, whose class I wrote it for, pulled me aside yesterday after class to "have a talk." She said that after she read my paper, she was worried about me. She said she thought I must be suffering from depression, thought I had an unhealthy self image, and that I needed to seek some counseling. Now, I'm certain that everyone could probably benefit from some counseling from time to time, myself included, but golly! I thought my self-critique was objective and insightful, and I made a pretty good effort to point out a positive after any negative I wrote about myself.

I found the process of writing the paper and sharing it on my blog, and with friends on Facebook, to be therapeutic and inspiring. In fact, I received some wonderful private messages from friends, clients, and fellow students who had read the paper after I posted the blog on FB. One of my dear friends even re-posted it on her FB page with this:

"My good friend, Melissa Adylia Calasanz, posted this today. I thought I would share it with my friends and family as I find these words quite inspirational." 

When I got home after the interesting conversation with the teacher, I reached out to the friends who had commented on my blog post. A dear friend, former client, and respected health and fitness professional posted this note:

“I think your teacher did not read the last two paragraphs of your wonderful essay. Count the number of "loves!" I think you evaluated the past and today in a completely honest, open, positive and accepting manner. Just think of how many great woman (and men) have written memoirs about aging, life, death, disease, loss, gains, basically the Shakespearean themes, and are they judged as depressed, over the hill, institution-able???? It is a shame that your teacher does not recognize your boundless joie de vivre! But those of us who are lucky to have you as a friend, confidante and teachers do know. That is what counts!”

In this day and age where people are constantly coddling each other with politically correct platitudes, and "everyone's a winner" just for showing up, it is rare to hear anyone openly and honestly share the fact that they have taken an honest look at themselves. I have no problem facing the truth-even if it stings a bit.

If  a "self critique" is supposed to be focused on one's "self," and everyone’s “self” has a mix of positive and negative, should there not be a focus on both the positive and negative?…Hmm, I guess I need a better education?

Anyway, here is the amended, "upbeat" paper I whipped up in 20 minutes last night.

I'd love your opinions, good and bad, please share!

Thanks!

-Melissa Adylia Calasanz

of

Controlled Burn Fitness

and

Chez Calasanz

The Amended Self Critique...

...doesn't read much like a self-critique if you ask me…

...but I’m just following directions.

Last week, I was assigned to do a Self Critique of my performance during my skills test for the Jazz 3-4 class I am enrolled in at Orange Coast College. (You can read the paper in my previous post, "A Reflection on My Journey Back to Dance"). However, if you read this post, you'll see that the paper was not received very well.

March 19, 2013

OCC Jazz Dance Class Self Critique Part 2

Though I feel the original Self Critique I had written and turned in last week is sufficient enough to fulfill the assignment, I will take a moment to make the suggested amendments in order to specifically address the choreography/combination, and to more clearly state my long and short term goals regarding dance, and the active steps I am taking in order to achieve them.

It has been over twenty years since I have been enrolled in a college level Jazz Dance class, however, I believe my experience as a former professional dancer, and health and fitness professional working with current and former professional dancers to rehabilitate them from injury, lends me the experience and perspective to give an objective opinion about the choreography/combination we learned over the past few weeks. I found the choreography to be absolutely appropriate for accommodating students of a mixed-level, Jazz 3-4 class. It included all the dynamics usually associated with what is expected of a level 4 jazz student to be capable of mastering, yet not too challenging to discourage the level 3 participants. There were no jumps included in the choreography, but the direction changes, turns, and floor work complimented the music beautifully, and presented an excellent opportunity for the instructor to assess the skill level of each student. Though I rarely had the opportunity to participate in the combination, I do remember it was an absolutely enjoyable experience to perform it on the one day I did attempt dancing it full-out during a class in early February.

As I mentioned in the previous paper, I have only taken about fifteen non-beginning level dance classes in the past five years. I no longer have a flair for picking up or retaining choreography, and I no longer move with the confidence and skill I did.  I was under the impression that last Tuesday was the day of the skills test and assessment, so I put my best foot forward and gave it my best try. Unfortunately, as I mentioned in the previous paper, when it was my time to dance in a group, my emotions took over and I do not remember even doing the routine. Thankfully, when I had the opportunity to watch the video later that evening, I was pleasantly surprised that it wasn’t the worst thing I had ever seen, and I reminded myself that I would never have to attempt doing that combination ever again. I also gave myself the permission to put the experience behind me. Little did I know, last Tuesday was NOT the skills test! Uh oh! Imagine my surprise when I arrived to the next class and was informed that we were to “get ready for the skills test.” I was stunned, exhausted, and completely not prepared to do that combination ever again! My body was completely over-worked from my other obligations and I had not thought of that combination since I had written that paper on Tuesday evening.

Though I was completely unprepared, totally uninspired, and on the verge of injuring myself, I did it. I was a train wreck, but boy, it was entertaining! I did the combination in the wrong direction, which I later realized was the result of the last time I had thought about/seen the combination. The last time I had “seen” it was while watching the video of it, so when I had to do it on the spot,  the only reference point available in my memory was my wonky, mirror image. I was fortunate that I had already written the previous paper or I wouldn't have been capable of finding the humor in it; the entire time I was attempting to get through the choreography, I was laughing inside thinking if anyone had ever seen the I Love Lucy Ballet Class Episode, they would totally think I was trying to do a Lucy impersonation. ;)

The experience of “just going for it” was great. I didn't die of embarrassment, and it solidified my realization that, though I know I will still occasionally yearn for the dancing days of my youth, I can still do more than most people, even completely unprepared.

The experience of “just going for it” has influenced my short term dance goals. My short-term goals for this class include: Just getting through it, and allowing myself to “just pass”; honoring my body more than a grade; Finding joy in the fact that I have had the courage to stick with it; and continuing to glean valuable information by observing the dancers in class as they progress both personally and technically. I also look forward to tackling the next combination. I know if I just keep showing up and staying present, I will meet these goals.

As for long-term dance goals, I had already begun working on my long-term personal and professional dance goals prior to enrolling it this class-that is what brought me here. I had put off going back to school because the success of my business, Controlled Burn Fitness, demanded too much of my time. Fortunately, (yes, I mean fortunately) the business suffered a fire and had to be closed in 2011. This unexpected event helped me to make the decision to put my business, and the majority of my clients, on hold and head back to school full time. The active steps I have taken to achieve my long term dance goals include continuing to excel in my core-curriculum academic classes. And though I have no desire to ever dance professionally again, I know I will continue to take dance classes after this semester, wherever I can and whenever it is convenient.

-Melissa Adylia Calasanz

of

Controlled Burn Fitness

and

Chez Calasanz

A Reflection on My Journey Back to Dance

A Reflection on My Journey Back to Dance

Hard work, a little discomfort, humbling realizations of weakness...Must remember it will all be worth it. Move your body, exercise your mind, challenge yourself and thank the people who support you.

-Melissa Adylia Calasanz

of
Controlled Burn Fitness

A 20 Year Old Melissa Adylia Gutierrez (now Calasanz)
taking a dance break on the 5 freeway on the way to Sea World

The Following was written on Tuesday, March 12, 2013, as an assignment for a Jazz Class I am currently enrolled in at Orange Coast College. Jazz was my thing...ballet was never my strong point.  However, it is fascinating for me to observe how uncomfortable I feel in this Jazz class compared to how I feel while taking an Advanced Ballet Class, two days a week at Glendale Community College.  

OCC Jazz Dance Class Self Critique

It could be easy for a non-dancer to assume that a former professional dancer would have no problem participating in a college level Jazz dance class. However, I would be happy to assure anyone who held such an assumption that, for some former professional dancers, returning to a college dance class can prove to be challenging, not just physically, but also emotionally. Since enrolling in this class, in order to fulfill a requirement for my degree, I have had to face many unwelcomed insecurities, and I’ve also had to learn how to accept where I am today. Having the assignment to give myself a self-critique for my performance in our skills test on Tuesday, as well as critiquing myself for attempting to execute the choreographed material, has afforded the opportunity for me to reflect on my physical and emotional journey back to dance.

Though I have only taken about fifteen dance classes in the past five years, I have found that returning to dance class has been more of an emotional challenge than a physical one. For instance, it has been difficult to come to terms with the reflection I see in the mirror. Though my rational mind knows I have a relatively wonderful body for a woman my age, the former professional dancer in me has a minor emotional breakdown each day I have to put on the required dance clothes for class. At a weight of over twenty pounds more than what I weighed while I was dancing professionally, I no longer recognize myself in the mirror, and when I do realize that the reflection I see in the mirror is Me, there is a moment where my heart sinks and I yearn for the days when I was young, lean, and talented. 

I not only look so different from when I was a dancer, my body moves much less gracefully, and it takes my body a lot longer to become in synch with my mental intention. I no longer have a flair for picking up or retaining choreography. This contributes to the fact that I no longer move with the confidence and skill I did while I was a professional dancer.  However, though my ability to carry out choreography in a competent manner still eludes me, I have been pleasantly surprised to see that I am still capable of executing technical drills/exercises, in both the warm up and across the floor, efficiently and with clarity. I am thrilled to see that years of great technique is still ingrained in my muscle memory.

The idiosyncrasies in regards to my muscle memory were highlighted while engaging in the across the floor skills test/improvisation on Tuesday. The moment we were instructed to add “personal flair” to our walks across the floor, I “had to” take my hair down in order to move with confidence. I had already committed to challenge myself,  the second week of this semester when I decided to no longer wear my heels across the floor, but without the security-blanket my heels represented, I felt completely naked and incapable of “really dancing” with my hair up. I was amused by how obvious my insecurities could be dealt with just by adjusting my hair.  Once I took my hair down, the improvisation passes across the floor become easier. I made a conscious effort to put my hair back up as I relaxed and regained my confidence.

Unfortunately, my confidence didn’t last.  When it was my time to dance in a group, with all the young dancers, my emotions took over once again and I was an internal mess-as I always happen to be during this class. I do not remember even doing the routine. I find myself checking out each time I’ve had to do it. I was not looking forward to viewing my “performance” video later that evening. Thankfully, when I had the opportunity to watch the video, I was pleasantly surprised that it wasn’t the worst thing I had ever seen.

I chose to look at the video with kindness, and critique myself for what I really am: I am no longer a professional dancer! I have not been a professional dancer since 2005, and I have barely taken any dance classes in years! I have suffered a non-dance/sport-related injury which has left my left femur missing quite a bit of articular cartilage, and I have many other physical obligations I have to attend to in my personal and professional life which do not lend my body enough time to recover in order to go “full-out” in a dance class!

Realizing I can objectively view myself, not as an old and overweight “has-been” dancer, but as a student, is liberating. Yes, I was not on the music, yes, there were times when it was obvious I had lost direction and even forgot the choreography, and yes, the young dancers around me looked beautiful and full of potential and remind me of what I once was. Fortunately, I can now see what I still have, and what I will always have, and that is my experience, and a new found respect for how I am facing this.

I intend to continue to challenge my comfort level as I continue through this class, yet respect my physical limitations. My legs may no longer get as high as they used to, but my placement is still good, and my intention is respectful. I just need to give myself permission to stop comparing myself to who I used to be as a woman and a dancer and celebrate who I am today: I am an amazingly active fitness professional that loves participating in numerous half and full marathons and trail races throughout the year; I love that I kayak, trail run, hike, and bike weekly while taking jazz and ballet classes-each twice a week-for the first time in years; I love that the degree I am completing will continue helping me to keep dancers and athletes injury-free; and I love that being a participant and an observer in this class is providing me rich and valuable information that will enrich me just as much personally as it will enrich me professionally.

-Melissa Adylia Calasanz

of

Controlled Burn Fitness
Chez Calasanz
and
Disciplined Indulgence

Alvin Ailey via Claude Thompson

"Discuss a Choreographer who has had the most impact on you..."

The following is what I wrote about

Alvin Ailey

Alvin Ailey
Photo by Carl Van Vechten

and

Claude Thompson

Claude Thompson
Photo by  Carl Van Vechten

The more I explore dance history, the more difficult it is to choose only one choreographer responsible for having the most impact on me. However, it is also my exploration of dance history that has helped me to elect Alvin Ailey (1931-1989) as the one choreographer responsible for impacting my dance career and influencing me the most. I chose Alvin Ailey because the choreographers, dancers, and techniques which contributed to Alvin Ailey’s dance style and history are also what connect him to my mentor, Claude Thompson (1935-2007)-therefore contributing to my personal dance history.

When I was about fourteen years old, I saw the Alvin Ailey American Dance Theater, for the first time. I immediately fell in love with the combination of athleticism and grace, of both the male and female dancers. I remember chiseled male bodies, in nothing more than what resembled loin cloths, jumping, turning, stopping, and balancing in such dramatic ways, women who were barefoot, strong, yet still feminine, and both the men and women equally strong, elegant and captivating, whether dancing with each other or apart-I was mesmerized. Up until that time I had been singularly focused on ballet and had never seen male and female dancers showcased in such a beautifully unified way. I wanted to dance like that, but had no idea how a ballet dancer would learn how to do such things.  About five years later, I had the opportunity to take a master class from a gentleman named Claude Thompson who had assistants demonstrating the exercises and choreography for the class. His assistants instantly reminded me of the dancers I saw with the Alvin Ailey Dance Company. After taking Claude’s master class, completely unaware of Claude’s association/history with Alvin Ailey and Alvin Ailey American Dance Theater, I became determined to someday become one of Claude’s assistants.

During the years I was taking classes with Claude, he always made mention of “Alvin” when discussing his days of studying “Horton” and he often mentioned the names Dunham and Graham when we would work on contractions and hinges and while working on one of “Talley’s pieces.” It wasn’t until I was his assistant that I learned that “Alvin” was Alvin Ailey of Alvin Ailey American Dance Theater, “Dunham” and “Graham” were the highly regarded modern dance pioneers Katherine Dunham and Martha Graham, and “Talley” was Talley Beatty who happened to have been a former Graham student and is well known for his amazing solo choreographic piece, Mourner’s Bench.

Claude often told his dancers and assistants that in order to become a strong and versatile dancer, it was important to study as many different dance styles and techniques as possible. He was also insistent that his assistants take Horton and Dunham technique classes, Afro-Haitian classes, as well as keeping up with our ballet classes. Claude also told many stories and lent many of his assistants and dancers videos in order for us to become familiar with the works of Talley Beatty and Jack Cole. It wasn’t until years after Claude’s death and while I was taking Dance History classes that I became aware just how much influence all these dance styles, dancers, and choreographers contributed so much to both Claude’s and Alvin Ailey’s dance history. The more I learned about Graham, Dunham, Horton, the more I began to see similarities in movements and philosophies that have influenced Claude and Alvin’s dance vocabulary , for example, when I recently heard a quote by Judith Jameson, of Alvin Ailey American Dance Theater, “If you haven’t studied at least four techniques, you’ll never get trough one of Beatty’s Ballets.” Upon hearing Jameson’s quote, I couldn’t help but give a nod to Claude for all the encouragement he gave his students to take as many classes of varying styles and techniques, from as many teachers as possible in order to help up become strong-capable of doing one of “Beatty’s Ballets.” I too have become an advocate of dancers and athletes having an extensive knowledge of different physical disciplines that will promote keeping their strong, dynamic bodies lean, flexible, expressive, and less prone to injury.

Exploring the topic of which choreographer has had the most impact on me has been a wonderful opportunity to realize how all dancers are the sum of all their parts, as well as the sum of all the parts of the teachers and choreographers who have shared their history with us. When given the opportunity to study dance history, dancers have the chance to become aware that the world of dance is small and we are all connected thanks to this beautiful art of movement. Through this exploration, I have learned that my most influential mentor, Claude Thompson, not only studied with many of the same people Alvin Ailey did, including Lester Horton-for whose style and technique I have tremendous respect, and who has influenced the way I structure the overall full body conditioning class I provide for my dancer and athletic clients- he was also the first guest artist in Alvin Ailey’s 1958 premier concert at the 92^nd Street Y in New York. I am thankful I have had the opportunity to have been re-inspired by both Dance History classes to learn more about my mentor‘s dance history, which in essence has created mine. 

Written for

Saint Mary's College of California's LEAP Program

LEAP PERFA 125 Challenge by Exam

I am happy to report that I earned an A for this essay, along with completing three other questions/essays for the exam!

:)

Margaret Karl	Jan 22 (3 days ago)
to me

Hi Melissa,

Here are your PERFA-125 results -- Great job!

Dear Melissa,

I read your PERF 125 challenge exam and your grade is an "A." Well done as usual. I think your analysis of Thompson via Ailey was clear and respectful and your assessment of the pas de deux was thoughtful. Just a note that pas de deux is already plural so you don't need the "pas des deux" that you have used herein. I don't think anyone has ever recognized the couple in the second pas, so I thought I'd mention that!

best,

jnj

Here is a video of Talley Beaty's

"Mourners Bench"

Enjoy!

:)

-Melissa Adylia Calasanz

Apples and Oranges

Comparing Dancing Apples and Oranges from Similar Trees

 I was directed to watch two videos, then analyze both dances and the dancers who performed them. 

Here are my thoughts

If a tree falls in the woods, and no one is around to hear it, does it make a sound? This is a question many people are familiar with, yet the question is rarely explored, at great lengths or depths, outside of a philosophy class. Interestingly, this is the first question that came to my mind while viewing and analyzing the two video clips that were presented in the Dance in Performance Challenge by Exam Assignment. To address the task of writing about the two video clips with a critical eye, with as much consideration as a philosophy student is asked to ponder the tree in the woods question, requires equal analysis of perception as well as knowledge about what is being scrutinized. The following is an exploration of each dance and the dancers performing in each clip, and how music, movement, and facial expressions influence the similarities and differences, therefore impacting the viewer’s experience.

The clips presented have many similarities which can best be demonstrated upon analysis of the dancers. There is no doubt, after watching both videos that the technical prowess each dancer possesses lends itself to years of dance training with a strong ballet emphasis. The confidence each female dancer has in her male dance partner, and the intuitive symbiotic physical awareness that each male and female dancer have for each other, during the execution of each lift, is evident. The lifts-or tricks, depending upon a viewer’s knowledge and perception-are demonstrative of the type of trust between partners that is usually cultivated during many hours of rehearsals and performances extensively focused on pas des deux. While the video clips show that each couple equally displays great skill, confidence, and mastery of their choreography, and demonstrate each couple’s ability to maintain respect for musicality, without sacrificing their individual artistry, the clips also highlight the stark differences between each pair of dancers.

The first video link presents two dancers in sleek body suits; a male and female, engaged in a riveting choreographic display of movement, in what appears to be a dance or rehearsal room from the late 1970s or early 1980s. The movements of the two dancers are accompanied by music which may be classified as ambient by today’s musical standards or described as something similar to that would accompany a modern dance performance by chorographer Merce Cunningham. The dancers’ movements are fluid, seamless, and effortlessly executed, and the dancers maintain a physical point of contact at almost all times throughout the two-minute video clip, which is slightly reminiscent of the philosophies of the Judson Era Contact Improv of the 1970s. Though the dancers appear to be expressionless, void of passion and excitement-there is even a point at 0:36 in the clip where the female dancer comes up from the floor into a gloriously graceful developpe a la seconde with her hand covering her face-the lack of emotion coming from the two dancers does not detract from the excitement that their movements produce.  The lack of facial expression paired with the stark room and synergy of music and movement creates an atmosphere of voyeuristic opportunity-anyone with the good fortune to stumble upon them would feel as if they were allowed to witness a beautiful secret, or something akin to stumbling upon a sweet woodland creature that you would not want to disturb for fear the beautiful creature would flee. The video clip lends the opportunity for the movements to take center stage and claim all focus yet at the same time, the viewer is not unaware of the relationship between the music, the dancers, and the stark atmosphere.

The second video showcases acrobatic adagio couple, James and Kathy Taylor, performing one of their signature acrobatic adagio routines on the hit 1980s television show, Star Search. The choreography James and Kathy are performing in the second video clip happens to be the same choreography from one of the numbers James and Kathy performed, as The Taylors, while we were performers in the Andy Williams Show in 1996. Though the second video clip does not show how the piece of choreography begins, I can assure you, that unlike the couple in the first video-who appeared to be expressionless and unconcerned with having an audience from the moment their choreography begins-both James and Kathy are completely aware and invested in their audience from the moment they set foot on the stage. The video clip with The Taylors is representative of what 1980s television audiences desired-to be thrilled, surprised, delighted, and appreciated-to be entertained. Much like Disco Dancing of the 1970s, and the popularity of ice skating thanks to the 1984 Olympics, the choreography of  The Taylors  allowed time between the lifts and tricks for a poses, applause, and a moment of acknowledgement of their audience. At 0:23 you can see an excellent example of how the choreography allows the audience the time to process, appreciate, and acknowledge what has been presented. Also at 0:23 in the video, and at other spots throughout, such as at 1:01 there are obvious build-ups in the music where the audience is alerted to anticipate the next trick or lift. The calculated head-nods, choreographed smiles, flourishing arm, hand and wrist gestures, even the choice of using the Oscar Nominated song, Through the Eyes of Love, from the movie Ice Castles, lend to The Taylor’s ability to engage with their audience, and are representative of much of what was valued by an audience and lent to a performer’s artistic merit and popularity during the 1980s.

Prior to receiving the video links, I had never seen the first one and I am still completely unfamiliar with the dancers, the music, the intent of the piece, and the era from which it was conceived. The second video I instantly recognized as James and Kathy Taylor, and I was thrilled to have the opportunity to challenge my perception of each piece’s value against the other. Each video highlighted the technical and artistic skills of the dancers, and were excellent examples of how artistic choices made to manipulate similar movements in relation to music can inspire divergent reactions depending upon the audience of intent. A person’s preference for either video can possibly be determined by the knowledge and exposure to both styles of dance. Some would prefer the first video because their perception may be that if a performance is presented in a serious manner, it lends itself more artistic value. Whereas others may prefer the second video because they value the amount of attention the performers are paying to them as an appreciative audience member. Regardless of one’s preference for one or the other, it is important to realize that until an audience has had the opportunity to view both, it is impossible to come to a conclusion of preference. I however, have been fortunate to have observed both, and I have found that both pieces are truly a work of art-creative works inspiring exploration, and worthy of consideration.

Here are the two videos.

I would love to know your thoughts on each.

Video Number 1

Video Number 2

-Melissa Adylia Calasanz