Day 31 - National Choreography Month

My unofficial goal going into the month was three pieces, all for one specific show. I also intended to use Nachmo to get a head start on my personal goal of fourteen completed pieces this year.

Last night I finished off the third dance of the month, thereby achieving both of my goals. I choreographed every single day this month and I intend to keep that momentum going for the rest of the year (haven't decided yet if I'm going to take November off or not). Two of those pieces were ballet solos and one was a tap duet (it's a show with only two characters, and they don't share the stage often).

I'm perhaps most proud of the first one. It's one that's been incubating for at least a year now, so I had a pretty good idea of what I wanted. I was absolutely chomping at the bit to start it on the first, and I think that's definitely the strongest piece I did this month. The second one I felt was not bad, perhaps a little slow (it was a slower song to try to do a tap piece to), but I think it helped me develop some characterisation. I meant for it to be a light and fun piece, so I deliberately tried to avoid doing too many tricks (a very bad habit of mine). The third one was kind of an 'oh crap, I finished the last piece and don't know what to do now' piece. It's got potential, but I'll have to take a break and revisit it before I'll know if I'm truly happy with it. That piece felt the most 'made-up' and random out of the three, which makes me think it'll probably be the least strong piece thematically (though I did borrow a couple of elements from the first song for continuity, seeing as they're both supposed to be in the same show. It won't save the piece if it's crap, but at least I attempted to be more intentional about what I was doing).

I wasn't able to get into the studio at all, and only managed one tap dance practice at my in-laws, so I wasn't able to post much footage, but that was weirdly okay with me. This is a show I'm very seriously wanting to produce so I'm deliberately keeping it close to my chest for now -- no spoilers.

My goal going forward is to continue to choreograph every day, as well as to finish out 2022 with fourteen (or more) new pieces. Three down, eleven more to go. That's one per month for the rest of the year.  I'm now at 110 pieces choreographed in the past nine years and eight months, and I'm on pace to hit 114 by the ten-year mark. Maybe I'll try to hit 115 by then. If I continue choreographing half a verse or so every day as I have been doing this month, that shouldn't be too difficult.

Day 16 - National Choreography Month

Having the bullet journal has actually helped me with this year's challenge. It creates a better environment to think about and set specific, concrete daily goals... something I have done only occasionally before this month. (The habit tracker is also a good motivator.)

Nachmo is harder than NaNoWriMo because in Nachmo there's no specific end goal. NaNoWriMo has 50k, Nachmo has... 'the experience.' Which is all well and good, but 'experience' doesn't necessarily encourage one to slog through the tough bits to a quantifiable accomplishment. In years past I would attempt to choreograph a certain number of songs or number of minutes, but choreographing is a lot more fluid than writing. There's no specific unit of measurement. Writing has individual words, dance has... pliés? steps? pointed feet? How do you measure a dance? Time is the closest you get, and even then, time is better for measuring the finished product. Thirty seconds of a solo can take an hour or so to choreograph. But the same thirty seconds for a group of twelve can take several eight-hour days.

All that to say, I don't have a monthly goal. I would like to finish three pieces, but that's not as hard and fast as my daily goals. So far, those have mostly looked like 'choreograph first verse/third chorus/bridge.' Choreographing chunks that size seems to be large enough to trigger some adrenaline, but it still doable, and it moves the piece along at a good pace so it feels like I'm making progress.

I'm keeping the same schedule as I did during NaNoWriMo -- work out a couple phrases over breakfast before work, then do another couple of eight counts during my lunch break. This usually gets me pretty close to my daily goal, and it's a great way to 1. make better use of time that would otherwise be spent scrolling Facebook, and 2. fit my dreams into the nooks and crannies of my life, since it appears I may never again have whole blocks of uninterrupted time to myself.

I've finished one piece so far, and I'm approaching the halfway point of the second one. For both of them, I've found myself choreographing the end before the beginning or at least before the middle. It currently feels like that's helping me with my structure and pacing (whether that's how it actually looks on stage remains to be seen).

I'm starting to focus a lot more on making a cohesive structure with themes, motifs, and more intentional dynamics, and while it makes my brain hurt sometimes and leaves me more vulnerable to self-doubt (and therefore self-loathing), I also recognise that I need to focus on that if I want to make something that 1. draws the viewer in, and 2. is satisfying. It's the next step for leveling up, according to the online choreography classes I took last year. It's difficult because I loathe repetitive music and dance with such a fiery and unrelenting passion that I have taken my work to the opposite extreme and ANY repetition of any kind in my work is used for target practice. I HATE repetition, so repeating motifs in my work feels like the antithesis of everything I've ever stood for as an artist and it sometimes make me feel like I'm unoriginal and lazy and that I write boring choreography (and therefore I'm a failure), even though I can think of many great examples where a tiny bit of repeated melody makes the song stronger and the soul happy. I guess my difficulty right now is in figuring out which bits should be repeated, and how many times they should be repeated. No surprise, given how much I've avoided it thus far in almost ten years of choreographing.

At least at this point in my life, I'm at least slightly familiar with the concept of giving myself grace to learn and try new things and maybe even fail a little bit at them at first. This was NOT in my vocabulary when I graduated college two years ago, but it's here now and it's serving me well.

I am proud of how much I've accomplished so far this month and I hope that the lessons I'm learning are strengthening my work, especially as I continue forward into my goal of creating full-length shows.

Music Day - A Song In The Night

I'm surprised I haven't featured this one.

Silverwind was, vocally, the 'Christian' equivalent of ABBA, and I loved both equally. There's not a lot of call for soprano voices in CCM, and from the day I first heard this album I was enraptured by Betsy Hernandez's pure, clear voice (come to think of it, those are also the same vocal qualities Rick Florian has). My short-lived desire to be a singer was born then, listening to my dad's vinyl copy of the album I'm about to feature.

For me, this was a slow burner of a song. It was pretty, of course, and I could appreciate the lyrics even then, but I liked Forgiven better (ironically the one song on the album that didn't heavily feature Hernandez's fairy-like soprano voice). It was around 2016 when this song sprang into my mind out of nowhere and I spent the next eight hours choreographing the entire thing start-to-finish from scratch. I had never even thought about choreographing it (there were too many Daniel Amos songs ahead of it in the queue), but suddenly I saw the entire thing in my head, fully formed, and it was all I could do to write it all down before it was gone. It was one of maybe two dances I've made that I would suspect were divinely inspired. There were seventeen dancers, angels flooding the stage. I'm not normally one for angels, but that was what the piece demanded so that was what I wrote. This is probably one of the ones I would most like to see on stage before I die.

The song itself is written as a lullaby -- a rather more lush and fleshed-out lullaby (the song clocks in at nearly four a and half minutes long). It includes not only Silverwind's signature harmonies, but also a child choir. If you can tune out the oom-pah-pah-like bass line (I promise, it is literally the only kitschy part of the song), you will find a beautiful bed of piano work (I wish I knew who played piano on this so I can buy everything they ever played on), accentuated by some light synth touches.

There are several highlight moments here. The first is the second chorus. The first chorus features only the children singing the melody in unison on la la la, accompanied only by a gentle rhythm section. The first and second verses are lovely and touching but not overly arresting -- painting a picture of a frightened child singing a simple song to beat back the terrors of the night -- but after the second verse there's a short but hard stop and Betsy's voice, nearly a cappella, puts words to the melody that the children sang earlier.

Take me soon, O morning star

To the heavens where you are

Sailing on a silver wind

Take me where my dreams begin...

In recent years, I've begun to imagine singing this to any future children I might have. It's the only time I have ever really pictured having a child of my (our) own. But the angel theme that I suddenly associated with the song in 2016 is a hard one to break. It does make sense -- in 2016, I was still very much grieving the losses (read: deaths) that happened in 2015, including the death of my cousin at nine years old. And in the past year or two especially, I have developed a very intense longing for 'home' -- the heavens, beyond the stars, beyond the wall of sleep. It's much deeper than the suicidal urges I've fought off and on through the years. This is a pervasive longing -- not to die, necessarily, but to go to the place where things are Good. The words take me, morning star / To the heavens where you are (as it is sung later in the song) sometimes fill me with so much longing to go there that it brings me to tears. This song is a lullaby, but a very emotionally intense one, one with the aura of death.

The second major highlight moment is where is seems the song comes to an end. At this point, it's been a lovely but mellow lullaby. It slows to an ending with a repeated line and a cadence... then the piano surges into the space and a triumphant trumpet kicks off a repeat of the chorus...

The third highlight is after this repeat. The chorus is repeated again, but with the children singing a counterpoint line -- which is something you literally NEVER, EVER hear in CCM (yes, DA did it in Horrendous Disc, the song, a couple years earlier, but by then they were in the process of being relegated to the 'probably heresy' section in Christian music stores). It is absolutely otherworldly.

Title: A Song In The Night

Artist: Silverwind

Album: A Song In The Night

Year: 1982

iTunes here; YouTube here.

Shadows fade and then disappear

When voices rise up sweet and clear...

Bandwagon Update

I've now been bullet journaling for four months.

I've invested in a Leuchtturm 1917 (in pink, of course), and it is being put to good use. I put my habit tracker in there, along with the NaNoWriMo word count tracker that you've already seen in previous posts. There's a month-at-a-glace page that I stole right out of Ryder Carroll's The Bullet Journal Method, and I merged that spread with a colour-coded budget and a three-point-daily mood tracker -- all on a two-page spread. It's a lot of information all in one place, but that's exactly the point. The colour coding helps a LOT and it's really helpful to have events, money, and mental health information for a full month all at a glance in order to see patterns (particularly since money is a very strong predictor for my mental health). I've put a suicide safety plan spread in there as well with things to try to distract myself, people to contact (with phone numbers), and a list of reasons to live.

I wouldn't say the impact on my life is dramatic, but it's definitely noticeable. I'm remembering things now -- to the point where if I tell my husband that I wrote it down in the book, he knows I'll remember. This was a man who could not (and I think still can't) wrap his head around the concept of needing to write things down to remember them; a man who used to get angry and frustrated with me multiple times every single day because I forgot something and he couldn't understand how I could forget such important things so often. We still argue, but it's far, FAR less than we did before I started bullet journaling.

In the daily logs, I've been marking things that made me happy with a pink heart instead of a bullet. Everything else in the daily logs is written in my black pen, so the pink hearts really stand out. I have an unofficial goal to have at least one pink heart bullet per day. Some days I really have to reach for it, and some days it doesn't happen at all, but it's something to strive for. (Today there will definitely be a pink heart because the local Tim Horton's had a sprinkle and jam doughnut for literally the first time since I moved here in summer 2020.)

My journal is still not flowery or a crash course in visual design and probably never will be. Just colour coding numbers for the mood and budget trackers are enough to keep me busy. But it's practical and everything is in one place, and those are more important to me than prettiness.

Probably the thing I like the most about it is the fact that everything is in one place. I used to have one notebook for dance videos in the works, one for dance class notes, one for choreography in progress, one for writing ideas, one specifically for Kyrie, one for 'random stuff,' one for journaling my actual thoughts and concerns, one for scheduling appointments, one for budget tracking... all of those have been condensed into a 250-page dot journal and a $3 pack of pens from Wal-Mart (the Papermate InkJoy coloured pens, which bleed a little and can be a tiny bit gloppy, except for the black, but the colours are amazing, the price is right, and I will not write with anything besides Papermate because I love the feel of their pens. I've been a Papermate devotee since my early teens and I will stop using them when you pry my Flexgrip Ultra 0.8 from my cold dead hands).

To be perfectly honest with you, everything that has happened to me since summer 2019 is a complete blank in my memory. I don't remember much of anything from 2020. I can only call up the very vaguest of memories from my own wedding in August 2020. A good part of 2021 is gone as well. By the time I finished an eight-hour work shift, I would not be able to tell you anything that happened at the beginning of the same shift. I couldn't even hold a conversation outside of my semi-scripted drive-thru order-taker conversations because the meanings of concepts and words were just -- gone (which in turn impacted my ability to make art and engage with the people around me, which pushed me further into depression and isolation). I had no past, and therefore no present and no future. I felt adrift in an endless ocean where time didn't exist. It was not freeing, as one would be inclined to think -- in fact, it was terrifying. When there is no time, there is nothing else. Nothing exists. It was like being stuck in an abyss. I was losing myself. I had no idea who I even was anymore because I had nothing to look back on, no reference point. Having this journal is helping me feel more grounded and like I'm an actual person rather than just a phantom in a shadowland. I have 'yesterdays' again now, and I didn't for two years. I'm only just starting to rebuild an awareness of myself as a real human being who exists in a real place and not a featureless ghost floating aimlessly in an endless cloud, and so far this journal is a large part in that.

Maybe I'll even manage to remember another update in a couple of months.

An Open Letter To Those Who Love Me

Written 28 September 2013, 8.07pm.

I found this deep in my drafts folder the other day. I thought it was the perfect manifesto to start off this year. It has not been edited since July 2017.

(I'm not actually as depressed as the title makes it sound.)

Dear people in my life,

I think by now ya'll have noticed that I'm not exactly following your dreams for me. You know, the corporate dreams of me being some big-time lawyer or doctor or some other kind of genius. You have told me so many times over the years how smart I am, how smart I am, how smart I am. I get the sense that you figured I was some kind of a child prodigy or something. Cha-ching. Don't think I don't hear those cash registers in your heads.

Now, that may be true. Maybe I am a genius. I don't know. It depends what you're talking about, really (because if we're talking math, I am most definitely not a genius). But whatever the case, you all see me as intelligent. And I am not living up to your expectations of me.

I may be wrong (correct me if I am, I really do want to hear your honest take on this), but it seems to me you expected 'more' of me. I was to graduate high school and then go to college for perhaps a psychology or a medical or law degree. Something that would accentuate any speck of intelligence I possess. Something you could brag about to your co-workers to make you sound like you had some serious connections. And then, after spending four or perhaps ten irretrievable years of my years institutionalised, I would be ready to take on the world, to be the messiah, and you would have the privilege of saying you knew me before I was 'great.'

But it didn't work out that way. I graduated high school with... I don't know, integrity, I guess. I was willing to admit I didn't know what I wanted to do with my life. And, perhaps more damagingly, I was not willing to commit to what I didn't know. I did not want to go to college for a degree that I wasn't sure I wanted, only to decide after three or more years' worth of money had been sunk into it that it really wasn't what I wanted to do after all. And then I would have been dishonest -- to you, to the school that would have had the misfortune of hosting me in such a case, to myself.

And I cannot be dishonest.

For two years you secretly hoped and outwardly 'spurred me on' (to put it politely). And then -- a miracle! -- suddenly the announcement came. I was going to college. Your hearts pounded. You were so excited. Finally I was going to live the life you had planned for me. Finally I was going to make good use of all my brains that I had been wasting for so long...

And now for my side of the story.

I have never been interested in committing more time than necessary to anything I am not fully interested in. Even in grade school: math. Math never interested me (nor did it make sense, but that's a different discussion), so I hated it. I would do whatever it took to do as little as possible... to waste as little of my life as I had to on such a pointless pursuit. (I know now that there is a point to some math, but that was my perspective at the time.) Second example: You all have had the misfortune of trying to make small talk with me. I'm not interested in small talk. 'Share how you really feel or shut up' has pretty much always been my guideline for conversation (for better or for worse). I'm not interested in small talk -- I hate these little social lies we tell each other -- so I don't do it. Like, at all.

By the time I graduated, I was keenly aware of the fact that I have one life to live. I have already used up twenty years of it just getting to this point. That leaves me with roughly sixty years remaining (give or take a decade or so). And there's no promises that I won't die earlier -- say, from an accident or something. Is it really wise to spend four years of those precious remaining years on school? School that I don't really want and may never need?

This was my logic behind not going to college immediately. I wanted to think it through first. I wanted to be sure what I was doing with my life, then decide if college would be necessary for that.

For two years I thought about this -- believe me, I thought about it. Hardly a second went by that I wasn't thinking about my future, praying about it, asking God what He had created me to do. It looked to you like I was just being lazy and mooching off my parents. Believe me, this was not the case. At the very least, it was not the intent.

Two years I pondered this. Two years I agonised. Two years I prayed.

I have to drop this train of thought now and back up a bit.

You didn't know this -- nobody really knew this till recently. You know I have been dancing ballet since I was six. What you did not know was that I have been making up dances in my head since I was seven. I didn't know it until those two years between high school and college, but I had found my passion by the time I was seven years old.

Choreography. Imagining dancers on the stage, coming together as a choir of movement, creating beauty. It captivated me.

At seventeen I began to take this seriously. At eighteen I choreographed and wrote down my first complete dance. Here is where this news began to leak out... that I was doing choreography.

You didn't know it, but I did. I had found my passion. This was my calling.

In those two years, I researched so much about careers in the arts. You have no idea how much I tried to spin it different ways, wanting the worst-case scenario so I knew what to expect, but wanting the best-case scenario so I could tell you something you could be proud of. So you would stop taking jabs at me for being lazy or stupid. Because I was not being lazy or stupid -- in fact, that was exactly what I was trying so hard to avoid.

I will tell you straight. Even the choreographers for big-name TV shows make about $20,000 a year, often less. And it's straight commission. If you don't have a project that month, you don't get paid that month. You are your own boss, and there's not a lot of demand for a choreographer. There's a reason you don't meet a lot of choreographers. It's because we don't need a lot of choreographers. Because nobody cares about the arts anymore. Ballet (true ballet, not this 'contemporary ballet' crap) is fast becoming a lost art, and hip hop, the dance of choice today, is largely choreographed by the performers themselves. When a classical ballet company does tour, they often mount the old classics -- Sleeping Beauty, Nutcracker, Swan Lake... There is no need for a choreographer; those works already exist.

In fact, this is reality for the arts in general. Artists are overworked (mostly as volunteers), and they are severely underpaid. Some of the most talented artists of the past century languish in a furiously creative flurry... unnoticed. Loved only by a loyal handful, but misunderstood and rejected, then ignored, by everyone else.

This is the life I am called for.

I am called to live a life that not only has no retirement plan, it has barely enough money to buy the groceries every week.

I am called to toil in obscurity, perhaps for decades, not because of the quality of my work, but because perhaps God has seen fit that I choreograph for only a few.

I am called to a life of intense loneliness. No-one can understand what it's like to create a dance from scratch until they have done it. And even then, those without the passion cannot begin to imagine the thrill of the soul that so captures our imagination that we dream of pointe shoes at night; that demands we return, again and again, to the music, to the stages in our imaginations.

I am called to a life that no-one on this planet will ever understand. It will look intensely foolish to anyone who has never tasted the wine of creativity, and in this day and age, that's almost everyone.

I am called to daydream with a vengeance.

I am called to a life throughout which it is highly probable that I will be broke or near-broke, lonely and largely ignored, obscure and taunted by those who do not understand. I will very likely struggle, not because I'm not smart, but because this is my God-given passion and the gift He gave me. And when God gives a person a gift, they can not and will never be truly happy doing anything else.

So I will choreograph. I may dance, I may sing, I may play an instrument. But no amount of criticism from you will make me change my mind. I will not be happy doing anything else. Let me be happy doing this.

Can you live with that? Can you accept the fact that I will not be a doctor or a lawyer with a 'thriving' multimillion dollar practice? Can you accept the fact that I will sometimes ask aloud where my next meal is coming from -- when I know there are other, higher-paying jobs out there?