It's never too late.
It's high time I talked about dance. I mention it all the time, but I've never really sat down and hashed it out in written form. So here goes.
All through elementary school, junior high, and high school I was envious of those girls who, around late May, would come to school for three days straight with gigantic pink rollers in their hair. They were the Larkin kids, and the end of the school year brought their dance recital. (Larkin is a local studio that always sweeps every competition they attend; they're hardcore.) They looked funny, but few people laughed because they were dancers, and that meant they did something that the rest of us couldn't do. I was envious, but dance class was not in the budget, and I never verbally expressed the desire to go. By the time I really wanted to get into class, I thought it was too late.
When I got to college I realized that it's never too late. I took a jazz class all of my sophomore year, and my teacher hadn't started dancing until college. It was heartening to know that beginning dancers could have a life after age 18. That class taught me a lot about vocabulary and positioning. I'd been performing in shows for several years and I have a natural grace that allows me to fake it even if I'm doing it wrong, but I needed everything that Carol taught us. I also realized just how far I had to go. I also realized how infuriating dance could be. No matter how good you got there was always something else to learn. I got a "B" in that class both semesters.
I didn't take formal classes again until I had graduated from college. Those classes were Monday nights and my attendance was sporadic. Jon gave me an introduction to various musical theatre styles and brought acting to my dancing. My pirouettes still sucked, but he gave me a foundation to build on. I took tap there the next session, but shortly thereafter Lundstrum lost that space and all of their adult classes.
I took a small hiatus to work on a summer show, then started attending classes at Zenon. Zenon has a work/study program that allows students to work off their classes by helping at the front desk. I have the early shift on Saturday mornings - 7:30 - 11:30am - and I check students in and take money. I am also a scholarship student, which means that I can take an unlimited number of classes throughout the session, with a required minimum of four. My first session with Zenon (fall of 2004) I took two to three classes per week: jazz, hip hop, and afro modern. My confidence as a dancer grew each week, and even though I still couldn't turn or balance worth crap, I was dancing and I was happy. I decided to audition for the scholarship program in December. I hoped to get into the Block E performing group and work with a choreographer for the session and present a piece at the end, but I got into the Intensive Study Program. It was disappointing, but better than nothing.
In January of 2005 I started taking ballet on Thursday and Saturday, afro modern on Thursday nights, jazz on Wednesday, and tap on Monday (and Saturday when I could make it). Rather than only getting to work on my technique one or two nights a week, I was getting to class every other day and my abilities jumped up several notches over the course of 20 weeks. My pirouettes still sucked, but I was definitely getting stronger, my pick up (ability to absorb choreography quickly) was getting better, and my understanding of how the different parts of the body worked together was growing.
I performed with two of my classes in the spring scholarship show, then took the summer off to do summer stock theatre. I was worried that two months off with no class whatsoever would leave me right back where I started nine months before, but when I came back I had had a chance to relax and not think about technique, and hence when I came back my technique was better. I hadn't forgotten anything. I was out of shape, but I hadn't forgotten anything.
Now I'm going on my second year with Zenon and less than a full year of ballet. I take four ballet classes per week when I can (one of those is advanced and one is intermediate), one advanced modern class (which I felt was crazy when I first started because I'd had almost no modern before it), and tap when my knees allow it. My pirouettes have finally stopped sucking so much. They're not perfect, but just this weekend (after weeks of a frustrating lack of balance) something clicked and I started turning out doubles. It makes me grin just thinking about it. I still get lost in combinations sometimes and have no idea where I'm supposed to be or what my body is supposed to be doing, but I'm tougher mentally than I've ever been, my body is stronger, and now I know when something feels wrong. I don't always know how to fix it, but I can look at myself and I can look at others and see what I and they need to fix. It's a great feeling.
What's next is finishing out this session strong, taking as many classes as I can, then a forced break. My school show schedule gets a whole lot busier in January and February, so a lot of my morning classes are out. I also don't know if I could take evening classes, and if I do, I have to wear my phone so I can hear it should they call me in. I feel a sense of panic when I think about not being able to take as many classes as I am right now for two whole months, but I have to tell myself I did it this summer and it will be ok.
I'm addicted. Dance makes me crazy sometimes, as most addictions do, but I keep going back. I may never get a chance to perform professionally as a dancer, but that hardly matters. I can't wait until I'm 85 and still doing pirouettes.