It’s been about 2 years since I last got my arse into a studio and did a ballet class. Good reasons for finding other physicalities to entertain myself since then, going deep in cyclocross and riding, enjoying cold and wet and windy work outside. But I missed ballet. I missed the good things of being in a studio doing the work, I missed being there with good teachers and brilliant pianists.
And this week, I’m back working with Isabelle Schad (remotely, of course), and needed something to get me going, something quick and snappy with a variety of intensities and velocities, something to put me in where I needed to be for the work. And I found Het National Ballet are live-streaming a ballet barre. And first day of doing it was wow have I come far from all that, like a memory of being a dancer but watching myself in the mirror (of course I did, it’s ballet training) I was laughing at how I have all these muscles that are very not from dance, and how much and how my body has changed in the last two years. On the third day though, I started to see it all again, physicality waking up and unburying, and yeah, enjoying it so much.
Ernst Meisner is such a cheerful teacher and Rex Lobo is a joy of a pianist. And doing it live, knowing they’re both in the studio as I’m here in my apartment, and there’s hundreds or thousands of other dancers whereever and we’re all doing it together, it’s truly beautiful and reminds me of how dance saved me over and over (and how dance is also a hard bitch, but, yeah, let’s just enjoy the good stuff for one day, eh), and how special dance is, how fundamental moving together is for life.
New music for the new week when we’re all on lockdown. OkayAfrica’s 7 South African Female R&B/Soul Artists to Watch In 2020. Ami Faku, who I cannot believe I failed to blog about, ’cos I bought her album IMALI about 5 minutes after first listening to her. Refentse Solo, who I’ll probably ending up also buying whatever I can once I get around to listening to her. I got stuck on Valerie Omari though. Very casually listening to Just Like The Rain and had to pause ’cos, “Did she just say, ‘she’?” Why, yes. Yes she did. “Just like the rain / She had me dripping way down.” South African R&B and Soul is doing the business right now. And Valerie Omari is criminally underrated.
I need a disco ball to open this.
Finishing the year and starting the year doing the work.
2018, I wore a heart rate monitor for all my training, riding, climbing, yoga, whatever. It felt a bit much. 2019, I stuck to riding only. All of which I keep notes of in a training diary in my calendar, ’cos I’m like that. So, 121 rides last year, and 150+ ‘yoga’ (core, strength, stretching, body work type, as well as actual yoga). Less riding than 2018, fewer long rides, virtually no climbing, and other year without doing a ballet or any kind of dance class in a studio, in front of a mirror.
Interesting stuff: The month of May, with almost no going into the red, and plenty of green and blue zones, that was Ramadan. The hole with nothing in it, June and July, that was me having my face peeled off in Spain. The first big ride, in October, was the Women’s 100, and the second was riding the Berliner Mauerweg on Tag der Deutschen Einheit. In retrospect, I can already see in my gappy training that chronic fatigue from a year of over-intensity and stress (surgery was only a part of it) was getting to me, November and half of December is that burnout.
Bike is currently in need of complete rebuild and new components, most of my cycling gear is similarly needing to be retired, but whatever. I keep riding. Every ride has had something in it for me, and it’s been so, so good for my mental and emotional health, as well as keeping my physicality ticking over. And it’s winter, a broken, very much not cold and snowless winter, barely ever below zero, but even that, riding in the cold, wet, dark grot makes me smile.
I love how young trans feminine mob are throwing down ‘transsexual’ these days. Very here for this reclaiming of our word.
This combination of words will never not be beautiful and will always give me a deep sense of joy and hope. Also, Billy Ray Cyrus. Can’t nobody tell me nothin’.
Like I said to the guy behind the counter at Rapha while we yarned about Taiwan, me with a way more alcoholic than I expected Weinschorle in me, buying the Women’s 100 jersey because it looked so good on the other riders, and I’m a sucker for certain intense colour combinations which make my eyes ping, “I feel kinda manipulated here.”
This morning, I discovered the quote in the zip pocket, which for some stupid reason touched me, even though I know fully well the “have it all, do it all, your only limit is your belief” thing is very much for and available to a certain, specific subset of people, while the rest of us have to navigate the intersections. Still, just as others have done the navigating before me, showing paths in the liminal spaces, so too do I do this with others in mind.
I also expect next year’s jersey to have 2019’s Transcontinental overall winner, Fiona Kolbinger’s dead brilliant quote in the pocket: “I could have slept less.”
“For a long time I failed to believe in my own capabilities but on a remote dirt road near the town of Krivača, close to the Bosnian border, I realised that there really was no distance I could not handle.”
— Emily Chappell
First placed woman, 2016 Transcontinental
Time taken: 13 days, 10 hours 28 minutes
Live on June 30th, a digital archive for Australian cyberfeminist collective, VNS Matrix / Merchants of Slime.
’90s-period CRT phosphor colours, monospace fonts, highly structured and interlinked data, emerging from over a year of conversations and work with the Merchants of Slime. Deep adoration for Web 1.0 aesthetics, sliding into contemporary possibilities for accessibility, interaction, responsiveness, and clarity.
By far the largest project I’ve undertaken, handling archival data management, utterly masses of PHP, JS, and CSS, and teasing out over months the design, aesthetic, and movement through hundreds of pages and thousands of media files – all while trying to keep it properly accessible, semantic, responsive, logical, even simple, while the phosphor burns the screen.
Heaps big thanks to Virginia Barratt and VNS Matrix for going, “Yeah, Frances is what we want.” And hectic reps to research assistant Clare Bartholomaeus for all the scanning and cataloguing.