Dear Sanna - An exciting year ahead

I am sitting in an internet cafe for another precious internet session! It's amazing how important the internet has become for me, especially abroad.

Well the night after my last post I was sick all night and could not even go in to the studio the next day, the first time I can remember since early high school, maybe even longer. The next day I felt better and tried to take class, but by grande battementes I had to go lie down. I hate to stay at home and miss things! So I stayed and watched a new girl step in to my (soloist!) part in one of the classical ballets we are doing this year. Then I marked the arms for my first rehearsal understudying the leading soloist in the same ballet (the second-biggest part in the ballet). Of course understudying DEFINITELY does not mean I will ever perform this role, but I am thrilled that I was even considered as the understudy. Then I finished the day being cast as demi-soloist in the ballet we started learning at the end of last year, which I was very excited about!

So besides being sick, it was a pretty great way to start the season. I am so glad the director sees me in these larger roles and will give me a chance, because even though a lot of good dancers did not return this season, the director could've chosen other dancers over me who are still in the corps at the moment.

I am also almost always dancing with my favorite partner! (Who makes me really really nervous by the way, but I sort of like that feeling and I like that we were paired up anyway.)

So that's all my time for now but I thought I would share my exciting news.

Until next internet cafe!

Janie

Dear Sanna - back!

Hey I still need to set up my internet connection, because I literally arrived back here yesterday evening and started work today! So sorry I haven't been on - haven't even read the posts I missed when I was gone yet, but I will save them and read them later when I am back home without internet (I am in an internet cafe now).

But my vacation was amazing, and I don't even think I got too out of shape! The director was relatively nice today, too. Seems like it is going to be a good year - so far I have some pretty decent parts.

Hopefully I will have internet and post soon! I hope everyone had/is having a great summer.

Janie

Sanna in Dancer Magazine

Enjoy this Read - FLY GIRLS, Tips on Managing Fear, Dancer Magazine, Aug. 2009

Janie will be back real soon!!! 

I believe she is in route back to her country.

Sanna Carapellotti, mS CHt

PS - I will address the goal responses in the next few days.  Thank you very much for your interest. Any one else?

Goals for this year -

What do you really want out of this NEW year? 

Get clear with WHAT YOU REALLY WANT.

Send me some of your thoughts.

Sanna Carapellotti, MS CHt

Performance Coach and Hypnotherapist

PS - "Janie" is off with family and vacationing. She will return here very shortly.

PPSS - If you don't know then you are left to be 'hijacked' by others ....

Accept or not ...

Are you a member of the status quo? The back row or the 'forever core.'

What is keeping you there? Look yourself square in the eye and ask yourself.

Your 'secret' is seen in your attitude that is reflected in your performance. (None of us can hide) If someone gives you negative feedback, do you even try to dance with an attitude against the feedback? I hope not. Take what you need from what you heard, dump it and GO DO IT. Sometimes other people see what we do not see or even know.

Of course if the correction is way off base for 'some reason.' For example, when Mr. F. told me in High School that I would never amount to anything. "Mr. F, your guidance was not so accurate." (I 'm sorry you did not take the time to know me and what was really going on). Straight A's in Grad school, writer, speaker, healer ...

If you want to stand above the status quo, you know what you need to do, just like I did.

Courage to stand apart, even taller.

Sanna Carapellotti, MS CHt

Performance Coach (I can help you get there)

While Janie's Away ...

While Janie's away --

Here is my latest interview in Dancer Magazine. The focus is auditioning, perspective and suggestions.

When Your Feet Aren't The Only Things Hurting!

I would love to hear your comments. What do you have to say?

Sanna Carapellotti, MS CHT

Performance Coach and Therapist

If You Want it you can have it -

I have had many requests ffrom those of you interested in purchasing the Performance Package but cannot afford it. Well, being the chief-in-charge here, I make the decisions I want to make. This is for you ~

I am placing the Performance Package for sale on a donation basis for ONE DAY.
(It is a 60.00 Value)

Sunday -- July 19 ... from 12 midnight to 11:59 p.m.

Here is how it works:

Read about the Performance Package. There are testimonials and lots of info on the page.

ON JULY 19th, I will link to PAYPAL and you send your donation (What you can honestly afford.) and contact information. You must include 7.00 for shipping and packaging.

I want you to have this Performance Package. You will use this regularly because you will - Get stronger, more passionate and more focused. (I have several dancers who used them and used them for 3 years and purchased a second set. I encouraged ipod usage because they listen to them every day.)

Here is what is included:

• 4 CD's
• 48 page booklet,
  
• A pot of Lavender Silk.
  
• Tele-seminar, Performance Jitters for FREE.
  

You asked. I listened.

Here it is For You.

Tell Your Friends and they will love you even more!

If you have any questions - email me now.

Love to you all!

Sanna

MS CHt

PS. Sunday, July 19th, 12 :00 - 12:00

Here is an article that speaks about the importance of sleep and performance. Although geared toward athletes, the way in which dancers work their bodies classifies them as "artistic athletes?"

Read and Get your ZZZ's. If you need help, Stepping to Sleep is a available and empowering.

http://www.usatoday.com/news/health/2009-07-13-sleep-athletes_N.htm?csp=34

Comment back here what you think?

Sanna Carapellotti, MS CHt

Performance Coach and Therapist

counter on blog

Does anyone know how to reset the counter on the profile page? It has been stuck on 670 for months! let  me know techno wizards!

Sanna

What Miranda said ...

Miranda is 19 yrs old and a ballet trainee. She purchased the Stepping to Sleep program mainly because she did not want to be tired for performances. When I talked with her (when she placed the order), she said all the rehearsals revved her up so much that she would be awake until 3 or 4 in the morning.

Since she purchased Stepping to Sleep, she is sleeping all night and feeling stronger for the actual performance. She was surprised that she has not 'heard' the program because she is always falls asleep. The imagery  has helped her to feel calm and strengthened from the inside. She said she has noticed a boost in creativity as well. (She doesn't know how that happened. Guided programs do that - That's my job! :) )

She purchased the program in March, 2009. She listens to it about 5 nights a week. It has become a part of her training program.

I am happy that Miranda gets it - Sleep and performance can be improved in the simplest of ways.

Sanna

PS - It is still on sale for 19.00. (reg.35.00) It is a good night with Stepping to Sleep.

DanceMind: Dear Janie, Tomorrow DOES Come!

As the year winds down it is bittersweet. Yet is time for you to rest and strengthen for the upcoming season.  

There are several things you can do that may not SEEM like you are training. I do hope that with all we have talked about here on DanceMind you realize that training for something as rigorous as dance extends beyond the studio.

Here's how --  Get Mental This Summer!

Back at you!

Sanna Carapellotti, MS CHt

Performance Coach

Therapist

Dear Sanna - July already!

Wow the time is really flying by. I was pleasantly surprised by all the work there is to be done now. I mentioned the new ballet we are working on in an earlier post. I was really excited to be doing the piece at all, and now learning the choreography I am loving it more and more! Also, we learned the demi-soloist parts as a group, which is really fun, and I was paired up with my favorite partner, who is very likely to dance the role. I don't like to get ahead of myself or expect things, but I think that means I have a possibility of doing the demi-soloist too! That thought is really exciting... but I won't let myself indulge too much in such uncertainties. Anyway it's really fun for now to rehearse, and whatever happens next year will be fine.

And we are still performing this season's pieces, as well, so really there is a lot to work on. Even so, a lot of dancers in the company go home almost every day after only half a day of work. The rest of us stay for the choreography workshop. It is really interesting, especially in the piece I am dancing, because the choreography really makes movements based on her own style. It is sometimes very difficult to imitate her way of moving, but I think it is good experience to figure out how to communicate what I am thinking and feeling and try to understand from the choreographer exactly what she wants.

Anyway it's all a lot of fun, and before I know it I'll be off on my summer travels! I am excited, but also not that eager to leave. I like where I am now! It's a really nice feeling to be equally happy at work, where I live, as on vacation and in my home town. It will be really interesting to see how things have changed and stayed the same in the states.

Janie

Dear Sanna - tomorrow comes....

..and the next day and the next day and the next day! I can't believe how quickly this year is winding down. There is suddenly so much to do in so little time - but it's all fun stuff, so I'm more than happy to be busy. I am noticing more and more lately how powerful my mind is in affecting my mood, dancing, and overall happiness. I am really in control of things. When I begin to worry about wrapping things up here, or how I will handle the inevitable getting out of shape (at least a little, which I think is healthy) over the holidays, I keep trying to mentally prepare. I know this can make the difference between a painful struggle and a methodical way of getting back in shape when the new season starts.

Promise to post more later but now I have to go dance!!

Janie

DanceMind : Language, Janie

As stated by Janie ...

Hopefully in 6 months or a year I will appear less stiff when I dance, since I am always working on it and trying to improve as a dancer. I imagine I will not be completely rid of this flaw in my technique, but at least it will be better than it is now."

I bolded the words that are influencing your performance. Notice the words that PUSH success into the future, or are uncertain, or speak of certain permanency.

Again, I ask, "How much will you truly be able to shift?" Not much.

Do you understand that you will continue to move forward JUST AS YOU HAVE IN THE PAST come to this day making minimal strides. Tomorrow comes.

Back to you ...

Sanna Carapellotti, MS CHT
www.mentalperformances.com

PS - Need more sleep? Go here ...

Dear Sanna - stiffness in the future

Hopefully in 6 months or a year I will appear less stiff when I dance, since I am always working on it and trying to improve as a dancer. I imagine I will not be completely rid of this flaw in my technique, but at least it will be better than it is now.

Stiff Arm Language

Great.

Now here is the next very important question... Read very carefully.

Now since this stiff arm problem has been going on for years (and you have achieved profressional status.) and you have a inner dialogue that supports the stiff arm problem. (read previous posts)

What would it be like for you in 6 months or a year WITH THIS STIFF ARM experience.
One Year? Will it be the same or change?

Sanna Carapellotti, MS CHT

P.S. Stepping to Sleep is on Sale! It is a dynamic problem guaranteed to strengthen your performance. Dance rested,

Dear Sanna - Stiff (everything! not just arms)

Yes that is correct. Definitely a miscommunication there. At least understanding this is a little helpful, but it's hard to deliberately not do what I think they are saying. I have been talking about this problem for years now. I think maybe it is a general characteristic of my dancing that I have always had.

Stiff Arm Language

Janie,

How long has this been a problem? Also, how long have you been referencing 'stiff arms' in the way you mentioned below.

Sanna

DanceMind:Janie - Stiff Arm Problem

Let's work through "Stiff arms."

Here is what probaly happens. The stiff arms become stiffer or way too relaxed because your attention is on them trying to make them big and fluid. You might even lose another part of your movement when the focus is on 'arms.' You become fragmented?

What YOU FEEL (and believe) you are doing and what THEY OBSERVE is obviously different.

So something is off a bit.

Part of the annoyance could be frustration with yourself because you are doing the best you can and think you have made a change and TO THEM they do not SEE a change.

Is this correct?

Language (better late than never I hope!)

My problem: I look very stiff when I dance.

Even when I try to bend and make my motions big and fluid, I am constantly told to do more. Teachers often tell me to relax or bend more, but if I do what I think they are saying, it doesn't help. Often times I need to hold myself more to appear relaxed or just bend differently, not necessarily more. I get really annoyed sometimes when I hear these corrections and I can feel myself closing to the corrections. Instead of using the criticism to become a better dancer, I feel resentful and hopeless.




In other news....

As the end of the season is in sight, a few dancers have announced they will not be returning next season, including one of our main principle dancers. In the past few weeks, the ballet masters have been telling people to really learn the places that will be empty next season, and I was specifically told to learn the principle's space in the ballet choreographed by the guest earlier this year (the one I was not cast in even as an understudy but learned anyway). She already had an understudy, but she did not learn the part very well or even go to half the rehearsals I was in, so as of now I will go in next season! It just goes to show how much can change - from not even being cast as an understudy to performing on of the main parts. I am really excited for this opportunity.

Also, someone is now learning my part in another ballet, which I think means I might be promoted to a better part in the same ballet, since the same dancer will leave a hole there next year as well. Even if they end up getting a new principle who will do these parts, it is still nice to know that they would consider me, and it's a good learning experience. There is also a choreography workshop with dancers from the company, and I am in one of the dancer's pieces, which is both challenging and fun. AND we just started learning another ballet I really love for next season. Things are really going well! I am so glad it's not the boring end to the season I anticipated.

Janie

Language

I met my deadline with Dancer Magazine for an article or the August issue. It focuses on aerial arts and the 'dare devil' phenomenon that surrounds it. Fascinating experience for me as I interviewed Amy Ell of Gyrontonics Houston and Serenity Smith Forchion of Nimble Arts, LLC. How inspiring they were to speak with. I will update you when the article is available on line.

I have written 2 other articles for them --

1. "It's All In Your Head!" (The Mind - Body Connection) January, 2009.

2. "No "Butts" About It!" (Tips for Quitting Smoking) March, 2009, 

 

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Language exercise ...  

NOW notice that what you say mirrors the experience you have.

For example, You want to improve your turns.

You tell people, "I can't turn. I really struggle. I can't even get around twice. My feet wont turn. I fall out in the most embarrassing times."

Notice how that IS your experience and HAS BEEN.

Do you believe the future will be much different?

Let's rewrite the script ... " Every day I practice my turns. I work hard at them. I practice after class and when I can. I visualize myself turning. I am improving. I feel good about learning. My teacher helps me.  I love to watch how other dancers master their turns...."

See the difference. It feeds what you want to accomplish and you move towards greater efficiency.

Comment.

Sanna Carapellotti, MS CHT

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Stepping to Sleep is on sale for 19.00! This is the lowest price since its release, even when Dance Magazine recommended it. "I feel stronger because I am sleeping. I did not realize I was 'not rested.' This program is on my bedside table."  Lori Bates, Las Vegas.

Sleep improves performance. That is a fact.

Language

Worth mentioning is how we address what occurs in our lives. Listen to how you speak of events...

Pick a problem you have had for a while, maybe a performance issue.

Write it down in a simple sentence.

Next write a few paragraphs about how you think of this problem. You may have inner dialogue, or say (speak) about it to family, friend and peers in a certain way.

This is a private exercise so be honest with yourself.

I will return in the next day or so and continue this exercise. I want you to do this now.

Janie, if you can post your response.

Thank you! Welcome to the new followers and I thank you all for your questions and comments. I appreciate it very much.

I am marking my performance CD' s down this week. It will be a nice sale for summer intensives! Stepping to Sleep is especially a good program to have as it strengthens, heals and prepares you for the rigors of intensive dance practice. Going away from home for long weeks in the summer can be difficult.

Sanna Carapellotti, MS CHT
412.344.2272

Taking Care of Yourself Pays Off

I am happy to hear that you FINALLY went to the chiropractor, and took action to check out your injury. Look at the results! Turns have improved! You are happier!

Crooked spine image: The body/mind creates and uses the language of imagery to communicate to you. When you feel creepy, you might feel tingly. When you have a head ache, you say, "My head is pounding." What your mind communicated was most likely exaggerated. Yet, there was a muscular pull in a direction that was unnatural. Your mind said, "I feel crooked."

Pay attention to that. It demands attention. Otherwise Janie, you could get another stronger message from your body. These cues speak. You experienced the results of paying attention. Taking action makes the difference.

Sanna Carapellotti, MS CHT

412.344.2272

www.mentalperformances.com

Dear Sanna - chiropractor magic... or mind power, or both!

It has been so busy! Since my back-kicking drama a lot has happened. We had a very important performance for an event, which was luckily very short, so I endured some minor pain for the sake of everyone's sanity and the show was fine. It was cool to perform at a fancy event in front of some famous people. And my back was good enough for our mini tour, even if my shoulder was sore after swimming and I still didn't feel good putting a lot of weight on it. But I could dance okay, and it was slowly improving on it's own, although I felt crooked even when the pain was nearly gone.

So the other day I FINALLY made an appointment to see a chiropractor. It felt a little silly, because it was so long ago and the pain was really minor by that point, but I was still a little scared that there was some internal damage or something, or at least that I was out of alignment. So the appointment was half for my back and half for my head. Anyway he cracked me like crazy and hooked me up to all these massage machines and said I had no real damage other than what he fixed by adjusting me.

Well I was very relieved, since the day after the kick I felt like they might be amputating my right shoulder. I also felt much looser and straighter, and the next day in class felt great. My turns were amazing! I don't know whether the physical adjustments really made that much of a difference or if the thoughts of a straight spine in my head helped me to dance that way, but it was great and I will try from now on to picture my spine this way.

Janie

DanceMind: Dear Janie, What Occurred to Me ...

Is that I could take a trapeze lesson.

Aerial arts are an amazing opportunity to display strength, poise and beauty on the stage. I have an article to write for Dancer Magazine on the management of fear. I have learned a lot and will keep you posted.

It is all about the mind - what we do in our lives.  My daughter and I are planning a lesson together. With her strength she will swing longer and probably do some trick of sorts. For me I am happy that I can view it as an option., a possibility, a new adventure.

My mind has changed about aerial arts after two conversations with two very dynamic women.

Amy Ell,  Aerial Modern Dancer, Gyrotonics Houston

Serenity Smith Forchion, NimbleArts

What is possible for you?

Dance Mind- Interview with Amy Ell.

What a refreshing conversation with Amy Ell, Aerialist, for an   upcoming article on the psychology of risk in the arts for a dance magazine. It is awesome, yet has a lot of 'mind' behind it.

More later. Janie, I will write tomorrow!

Gotta get to Bikram Hot Yoga class.

Sanna 

PS -  http://www.mentalperformances.com

Dear Sanna - careful it's a long one

I think I mentioned earlier this is a very busy month as far as performances go, and it happens to be socially busy as well for me. Last week we had evening performances 2 days in a row, an early studio performance the next day, and still one more normal day of work before we made it to the weekend, so it was very exhausting. The company has been a little on-edge lately, too. Nobody is exactly sure why, but maybe it's just that Spring-time stress I seem to remember every year (although I used to think it was because of school finals and auditions and whatnot, but maybe even without those things the environment can still be stressful).

Anyway I was also starting to come down with something - sore throat, runny nose, etc. and just not having the best week. Then before the second evening performance, the artistic director had a really annoying rehearsal in the studio. It's this hopeless ballet that is just a mess of choreography as the basis, so it's really impossible to make it look good. And on stage it's even worse because there is way too much going on and too many people and it just doesn't work, and everyone but the artistic director (and choreographer) know this. So it was annoying enough we had to rehearse over and over before the show, and it was an especially horrible rehearsal that went 15 minutes over time. The director said "the bus will wait. I need to rehearse," so we took our time getting ready. When my friend and I arrived at the bus stop 8 minutes past the time we were supposed to leave, after 2 very angry phone calls, and we the director yelled at us, too. But we did not even come as late as the rehearsal ran over, and we were told the bus would wait. Yes, we could've rushed or not gotten food to eat between 2:00 and 12:00, but that's not right, so we didn't. It just made me so angry. But the director talked to me and wasn't really that mad. We said it wouldn't happen again and the director proceeded to give me the typical back-handed compliments. I am a good dancer with a nice facility but I need to push myself.

Anyway I really do feel I am getting better at knowing what mindset I need to approach a performance and how to forget my negative emotions when I need to. So I think I was okay during the show. It was going pretty well actually, despite the ridiculously small stage. Then we got to the end of the dreaded ballet we rehearsed earlier, the climax of huge crowded mess. But I really went for it, and then I felt a leg come crashing down on my head and then shoulder. It was horrible pain, and I didn't know what to do. I covered up the choreography I just missed, and continued, because I knew I could and it was the professional thing to do. I held back tears (barely) until after and then I couldn't hold it in. I knew the girl who hit me felt awful and I tried not to blame her or let her know how bad it was, but my shoulder felt horrible. All messed up when I tried to move it.

There was still one piece left in the show, so I did it through the pain. Then the next day we had to come in extra early for the studio show. I couldn't even hold the barre with that arm, it hurt so bad. And whenever I tried to do anything holding my back it hurt. And nobody with authority even showed up until about 10 minutes before the show, so I felt I pretty much had to do the show, since I have no understudies, and I just asked that I not do the demo class and a few especially painful parts. I was so scared and frustrated, just like any new injury, that it might never get better.

The next day I woke up and it was slightly better though. It's tough with this schedule to try to see a doctor or chiropractor. There's a show and then we are on the road performing, but I think I can get by. Hopefully it will keep improving a little on its own, and then when we return in a few days I can see somebody to put me pack in alignment. I'll let you know how it goes.

Janie

DanceMind: Dear Janie, Nerves

Nerves are a part of your physiology and respond to subconscious/unconscious mind and emotion, and also to the body. It is a complex  interconnection so closely fused that it is hard to tell what begins the effect and how it all comes together thru expression. Some times the body initiates it, too. You do not know why?

Realize that - You program yourself to associate mind, emotion and physiology to an event.

Dance performance = fear, dread, disappointment.  (nothing you do will ever be god enough.)

Dance Performance = joy, excitement, commitment, love. (You learn and grow from experience)

You are right, Janie, having no sense of excitement, or 'nerves' is boring and creates a lifeless performance. It would be like meeting your favorite rock star, or going to a party without energy, lifeless and dulled. It is possible that you were holding yourself back, to not put yourself out because of personal risk, uncertainty about your 'place,'  the politics within the company. SO we withdraw when we do not know, or it feels safe to be expressive.

Look at it this way --  on a scale of 0  --  10.   You cannot approach a performance and expect to do well if you are at a energy level of 2. You could maybe walk across the stage reasonable well.

This rating system can be helpful. Get to know yourself and how you feel BEFORE, during and after you perform your best. 

Now without a doubt certain roles, choreography or difficulty has a different feel. As you become more experienced you know what level of energy is demanded of the piece. 

You can associate a certain feel with the numbers.

If you begin at a 9 (you are in a high state of stress / 'nerves'.  It is more difficult to manage the body, to bring it down. It is much easier to move up into the energy required of a performance.  

I did work with one performer who HAD to be very hyper yet was  instantly able to reduce the body mind experience very quickly, actually instantly. This is an exception. Is it necessary? No. She would collapse after a performance. Her recover was a lot longer than most. She had not desire to change it. It worked for her and she accepted the price of exhaustion, for now.

You might wan to establish  a 4 - 5 range prior to performance . You allow yourself to naturally increase energy. You are sensing an increased heart rate, tingling, more blood pumping in your veins, changes in eye movement and breath -- and you are at a 4. Know what that feels like. Then you can return there and know -- "hmm , for this piece I can safely stay here because it starts out slower .."

Nerves are a 'good thing.'  They communicate to you.

Sanna Carapellotti, MS CHT

www.mentalperformances.com

PS -  Join me on FaceBook!  Sanna Carapellotti

Dear Sanna - some answers

It's true. Nerves can be good. I remember at the beginning of the year, I did not feel nervous for the first few performances. Maybe the atmosphere did not feel professional to me, or maybe I was just not being challenged with my roles, but I felt nothing. No nerves, no excitement, and it was difficult to perform this way. Nerves get my adrenaline going and I have energy to perform. Without it, dance just feels like a job, which it has never been for me. That's why I like my job, because it's fun and it DOESN'T feel like just a job. Even in rehearsals or class if I am nervous, it's not always a terrible feeling. A little drama makes life interesting!

okay now for 20 responses - I could adjust my rhythm but...

1. Nobody else adjusts for me
2. I am doing the correct counts
3. It's harder to change than to stay the same
4. My partner will also have to adjust with me
5. I might not dance as well if I am distracted by new counts
6. I don't want to!

okay is this an exercise to prove that there aren't that many good reasons why I should not adjust? Because I can't think of more than 6 reasons aside from the 3 examples you gave.


Today we had a performance and I was so annoyed. First, before the show a friend of mine couldn't find her costume. She kept saying somebody must have taken it, when I'm sure it just got left behind somehow at the studio. These things happen, and yes, it's annoying, but it's more annoying when you don't stop complaining about it. There are plenty of extra costumes, but she was fussing so much I finally just told her to take mine and I would take one of the spares. In the end she took the spare and I stuck with my costume, but there was a lot of unneeded stress in the room.

Then during first act my mood worsened. It went okay, but it's one of those really cheesy story ballets where the corps do a LOT of acting and not so much dancing, which isn't really my thing. I feel stupid and awkward walking around trying to act. On top of that, I got punched in the face, I'm assuming by one of the new guys who doesn't really know what he's doing, but it just really hurt and I still had to walk around the stage acting and smiling like an idiot. Then after, I couldn't find my costume, and it's not that big of a deal for me to just take one of the spares, even if it is a tutu (therefore more fitted than the first act costumes), but I wasted a lot of precious intermission time searching for the stupid thing. Then I went upstairs and my costume was in my dressing room. I suppose it was a nice thought that somebody got it for me, but since I didn't know it just caused trouble.

Grrr! It was so hard to not think about the fact that my nose felt like it was smashed into my face and my costume frustration for the rest of the show, but somehow I forced myself to change my mood and the rest of the show was even kind of fun. Now for some rest...

Janie

DanceMind: Dear Janie, Experience

You are right about the experience piece. That experience tells us to -

1. expect change
2. surrender to it
3. to flow
4. to strengthen
5. expect change

... and of course, perform.

Sanna Carapellotti, MS CHT
mentalperformances.com

PS - I was interviewed ast week for a piece on 'rejection' for Dancer Magazine. I will let you know when it is published.

DanceMind: Dear Janie, All in a day ...

The question becomes this -- How do you increase 'movement' to do what is asked of you with all the mental "yes buts."  

Consider the mind set surrounding 'yes, but.'

Let's do this ... Answer this question with at least 20 responses - Ask yourself. Allow the answer to pop into your mind and ask again, very quickly.

I could adjust my rhythm but ..... There is no time.

I could adjust my rhythm but ... the performance is tomorrow.

I could adjust my rhythm but  ..... I learned it this way.

Got it?

Sanna Carapellotti, MS CHT

mentalperformances.com

Dear Sanna - moments of truth

Unfortunately I think the main way to be more prepared for these kinds of things is experience, perhaps together with an open mind. It's amazing how much easier it is when I just open my mind to things I know I have to do anyway. Of course sometimes it's important to stand up to things I really disagree with, but if I know I will eventually do it anyway, it's much better if I at least pretend that I want to.

That must have been so difficult and scary to first prepare a speech about something that bothers you so much, and then have to change it at the last minute. It's easier now to think about how to handle these moments, like my pre-show stress. Maybe it's a huge deal to me, but maybe to everyone else it just sounds like a normal correction or a way to make me dance my best. It's not the end of the world, and I need to realize that when I try to apply the corrections. It's not life or death, and if I just try it can only help me.

Hey I did 5 pirouettes today! More than once, too. I was just practicing in the back of a slightly boring rehearsal when a company member gave me a little correction, and there you go - 5 turns. It was so much fun and I kept doing it too. We'll see if it still works tomorrow ;)

Janie

DanceMind: Dear Janie, All in a day ...

Experience teaches us the importance of being authentic as to who we are and knowing our subject matter, in your case - ballet.  

About 20 years ago when I first started speaking as a part of my work, I was invited to speak to a Mother Daughter's Brunch on Mother's Day. At first I freaked out and declined. (at the time too much trauma for me due to my mother's sudden death when I was a young teen) After much thought, I realized that this could be a part of my healing. I accepted the challenge.

I was told that the daughters would be teens and the Mom's  in their 40's and 50's. SO I prepared a 30 min talk about separation, growing pains, trust and memories and weaved together a nice discussion and a few exercises.

Preparing for the event was nerve wracking. I admit to being so afraid I would cry HUGE tears. Mother's Day was not my favorite day.

Mother's Day arrives and I show up all prepared. I walked in to the church basement and stopped dead i my tracks. I was speechless.  

The daughters were in their 40's and 50's and 60's and the Mom's in their 70's, 80's and 90's!

I was so programmed and glued to MY speech out of my own great fear, that I have to say it was probably one of the most difficult moments of my life. I had to ad lib the whole thing and it was not my best, I stuttered and stammered, yet I got thru it. I was so uncomfortable.

What I know now is that I prepare not only with words and WHAT my expert subject is, but also to for the audience, it is not about me. 

I could have told a moving story about my mother loss and tied it into how grateful they can be about having time together ... But I stood steadfast in my own drama of the moment.

My self-importance and inexperience got me in big trouble. My talk was for them - to move them, not about me ("OMG! I was given the wrong information, What can I do? I have nothing to say!) I could have made a joke and been more 'flexible.'

Being in dance (as in most positions) requires you to be in the moment and to shift away from what was and to what is called for now.  Controllables.  You know that things happen - injuries, life events, changes, etc ...

Many of us can say quite nicely what the controllables are and yet not want them to be so in the real world. 

All you can do, Janie, is the best you can do at any given moment.  The directors and instructors make decisions based on what they believe to be needed, not what you could be prepared for. 

Do you understand that? 

Being told the day before about being off time could have been a forgotten thought of yesterday.  They have so much on their minds.  I can venture with certainty  that thoughts race, especially before a performance.  When you discover that the performance is much bigger than you, that you are a part of a larger picture than you can truly be prepared to do the best you can.

Resistance of mind creates tension in the body.  That part of it is self imposed. It places you in a  position of being 'against' the company. Is that  who you are? (i do not think so)

Here is the good thing, Janie -- You have been there almost a year. You have realized some communication patterns in how they relate. Some good and some not so good.

Be ready. Just because someone says something to you does not make it true. This can be about your habits, weight, work ethic .........

How can you prepare yourself? How can you become more flexible in mind to become more adaptable in body?

Here is the question -- How does it serve you (to be resistive?)  

What if you could be more fluid, more adaptable, more open to change?  When things do change (and they do) you will be open to learning faster, being more present and even more 'presentable.' You just do it.

I know I rambled... however, I will read it over to make clarifications.

Controllables ...  YOU!

Sanna Carapellotti, MS CHT

Performance Specialist

DanceMind: Dear Janie, It's all the same to you!

Your posts are very revealing once again about the challenges within dance companies, especially in the area of communication. Communication is often uncensored and emotionally driven. Often based on appearances. (you are studying and director views it as if you are not 'concerned about your piece.')

It is difficult to not take things personally, or to not feel badly. You have been working hard, are dancing with partners you are not familiar with and have been mentally rehearsing. How could he tell that?????

Some aspects of preparation are unseen and unnoticed. Placing your attention on other matters can actually strengthen your performance. It is virtually impossible to sustain ALL your attention on choreography ALL the time. Diverting attention to LEFT brain activites is actually a good thing. Also flipping through a magazine is a powerful relief too. Or listening to one of the audio programs you have of mine.

Sanna.

Back in the morning.

Dear Sanna - it was okay

So I worried and worried about the performance following my last post. I talked with a friend about it, who helped a little, saying I really look good in the piece and reminding me how the director gets crazy and says things in a really rude way. I felt a little better, but still nervous since I would maybe have one mark-through before the performance to fix it.

The next day I tried to approach the show with a good attitude, since I knew being negative would not help matters. But it's hard to be positive when you are so stressed out! After class I sat stretching and studying (did I mention I am trying to learn the language?) with some friends while they worked on a ballet I am not involved in on stage. The director walked in and made an annoying comment about how "orthodox I am with my studying," but what I should be thinking about is the performance because it was "not bad yesterday, it was terrible." Great way to boost my confidence before a show. And as if I had not spent the entire evening and morning going over the piece in my head. As if I didn't care how I danced. As if the rest of the corps and the music and my partners were not important in my dancing with the group and it would be perfect if only I would stop studying and think only about the dance. Very annoying.

During the mark-through on stage, I did as much as I could full-out, without making my overworked partners do too too much. I felt bad, since most of them are principles with a lot to do, only dancing with me because my partner is away. But I tried very hard to do what I think the director wanted (not that I'm ever told exactly what is so terrible about my dancing).

But the show went okay, I thought. And the next day we actually got notes all together as a company after class (which is another rare occasion for us), and the ballet master who corrected me the day before the show specifically said I was much better. I felt silly, since not many people were singled out, and I think it might have something to do with the way I reacted to the correction. I was upset and frustrated and I said that I felt like nobody would work with me either, so that's why it wasn't together. I hate to talk back to teachers when I am corrected, but I just couldn't help it.

I suppose all's well that ends well. My partner will be back in a few weeks, so I guess we'll see if it will be hard to adjust to him or if it will be comfortable like he never left. Hopefully the latter!

Janie

Dear Sanna - helpless

Today we had dress rehearsal on stage (a very rare thing for this company) including the piece where my partner is missing. I was under the impression that I would not have to perform this piece before my partner returned, but he is not back yet and there is a show tomorrow. Great.

And today after the rehearsal, one of the ballet masters told me I was not together with everyone else, which when I think about it is somewhat true, but this information would have been much more valuable if I knew a little sooner than the day before the show. AFTER rehearsal - I couldn't even try to fix it today! At least if I had known I could've tried to fix this in the studio when we rehearsed the past few weeks. It is also frustrating, because I know there are many instances where I am the only one on the music, or at least doing the steps on the counts we originally established. When I reflect on my dancing, I realize that I think I am a little subconsciously stubborn, so I am aware that we are not together, but I am also determined to do the steps on the "right" counts. Tomorrow I will just have to try to let the music and counts go and be with the group, but it is very difficult to try to fix this overnight without any rehearsals.

...not to mention the fact that I also dance with partners who also need to be together with the group. It cannot be completely my fault we are off the music. And it's hard to track down all these partners and work out problems, especially when the problems are with timing, which requires both music and the rest of the dancers. It is way too complicated!

But I am much less angry than I was earlier today so I will just do my best tomorrow to be with the group and have an open mind and good attitude, because staying angry will definitely not improve my performace. I'll let you know how it goes.

Janie

DanceMind:Dear Janie, Nerves ...

Appearances.

What if you woke up tomorrow morning and THAT feeling is gone - Poof!

No nerves. No upset. Dream come true? Maybe not.

Look at what happens here - You dance beautifully until 'he' comes in. Your power is reduced/drained because you started 'thinking' about his impression, how you may not like him, how you were not cast .... Mind rant drains your power. It activates frontal lobes of the brain (used for thinking, inner dialogue) and your body can't dance as well. The brain communicates to muscles and CNS.

Training is not the same story, it can feel a little awkward - is that the case here ? As you mentioned? You were learning? Even so, splitting your mind on what HE OBSERVES (which you really do not know what he is experiencing) takes you concentration away.

Janie, you realize from many past posts that you cannot control who is in the room, who is allowed to watch. This can be unnerving, which can be a good thing.

I am going to ask YOU TO TELL ME how THAT nerve feeling can be a good thing.

Sanna Carapellotti, MS CHT.

PS - The Stepping to Sleep PAYPAL buttons now work. What a challenge ....

Dear Sanna - oookay

So the dreaded choreographer showed up a few days ago at the end of class. Of course he missed barre and the beginning of center, my best part of the class, and I noticed his presence just as we were doing a particularly unflattering combination. I felt awkward dancing and glanced up to see him. Perfect. But I really tried my best not to focus on him, either constantly looking or really avoiding where he stood. I think I am getting better at this, because I was able to somewhat retain my composure and still be a ballerina.

Anyway I can't say I was thrilled by the end of class, because it's still frustrating to even have these nerves when somebody important watches, and I am already bitter towards this particular choreographer for not casting me. I was trying to decide whether or not to stay for the rehearsals, when one of the ballet masters approached me and asked if I was an understudy. I told him not officially, although I was looking at everyone and trying to learn the steps. He told me the choreographer asked if I was an understudy and that I should stay, since one of the understudies left the company. I was so happy just to be told what to do! It is so stupid thinking I want to learn something and the artistic director telling the entire company to stay, but not really being cast and not having enough room and not having a partner to work with.

So this tiny little incident improved my entire week, even though nothing at all was different after this little chat with the ballet master. Funny how something so small can change your whole attitude.

Janie

Dear Sanna - Ughhh

Today I just woke up on the wrong side of the bed. It was the first day back after 3 and a half days off, which is more of a break than I think we've had since October, and I wasn't even expecting it! I never do well with time off, because for one thing I find it hard to maintain my weight. Especially when there is a holiday and I am invited to big family meals it is difficult, but even regular breaks are hard because when I am not dancing I get bored and think I'm hungry. Or I get together with friends and often times we get together to eat. Sometimes it seems like there's nothing else to do when you meet certain people! Anyway, I think I did a decent job this time of not going too crazy, although I can't say I didn't put on any weight at all. I think it's important to relax a little and allow myself to have some treats, so I am not completely regretful, but sometimes I need to stop a little sooner. I am more worried for the long chunk of time I will have off (hopefully) for summer vacation.

Anyway aside from the weight issue, I also really find that my dancing is affected by even a few days' rest. I get out of shape so quickly! Things don't feel quite right and I can't do everything. I must say, though, that I think I might be getting better with time off. I don't know if it is because I'm getting older or more experienced, or maybe even that I have less classes than I used to each week, so my body is used to more time between classes anyway. Whatever the case, I am relieved that breaks are getting easier, but I still feel it, and I fear tomorrow I will really feel it (being sore from today).

But I still want to work. I love dancing and I like to have a full day, so today when the company was rehearsing a piece I am not cast to even understudy, I was torn about what to do. I usually go to the rehearsal anyway, because I like the choreography and I like to learn it, and also the artistic director did tell me to learn it. This isn't such a big deal since the artistic director tells everybody to learn anything, but still the reasons together are usually enough to make me at least stick around for the rehearsals. But soon the choreographer is returning and I know there will be many very long rehearsals with him, and I don't know what to do. On the one hand I hate feeling left out, and I do like learning it, but on the other hand he did not choose me and there is not much room and I am a little embarrassed to show up to rehearsals in which I am not cast. I really don't know what to do.

But today this rehearsal was moved to our horrible third studio, because our scary ballet mistress was teaching a mini course for younger students, so she wanted the big studio. It wasn't hard for me to decide not to go to the rehearsal in the gross studio where there would be even less room, but I hated the thought of doing absolutely nothing for a whole 2 hours of work. So I took barre of this teacher's class, even though I had already done class today and I know her school class is a killer. And I was wearing pointe shoes. The shoes were dying too, so I didn't go on pointe for a few things that were supposed to be on releve, and the teacher yelled at me! So I suffered through en pointe or demi pointe, and then the artistic director came in and started telling me to lift my leg, when I was taking it easy with one side because I have a sore hamstring. It is so annoying! Give me a break - I am taking an extra class to work for myself and improve, and I don't need people nagging me all the time!

Janie

DanceMind: Dear Janie, There are words -

When I have to work, I have a routine. I know what to eat, how to dress, what state of mind to be when I am at my most clear and intuitive. (Keep in mind that you throw away what you learn and then apply artistically. I am assuming ballet after a certain point is the simliar.)

Everyone has a different view of how the body can move and then when it is infused with emotion and style - you have choreography. Now know it is not that simple, cut and dry, yet choreography is about the individual who is creating. ( projection, love, an expression, a vision, an emotion) You as 'a ballerina' must strive toward excellence and be flexible along the way. Because you dance the choreography of so many different 'visions.'

It is the same with food, music, therapy (had to throw that in there) and even shoes. When you dance within a company the choreography is not within your control. You just have to do it ...

Yes, Janie, you are a ballerina.

Sanna Carapellotti, MS CHT

Creator of Stepping to Sleep for Dancers

recommended by Dance Magazine. Get Real Sleep!

DanceMind:Dear Janie, Infuse it with Passion

Of course you are right, Janie. When you infuse ordinary moments (the grinding moments) with your love of dance, your whole body responds. It is truly about perception.

Consider this statement. "I make my meaning."

Your beauty transforms each and every piece. Your energy, your artistry, your grace, your poise, your commitment ...

Your attitudes, beliefs create the experience.

When you carry your best possible self to the studio every day for 'the grind,' then those 'best' moments accumulate and define you. It all moves you forward in a way that is very authentic and powerful. You have that choice in everything you do, not just dance.

Step into who you really are ... or aspire to become by acting like it today.

Sanna Carapellotti, MS CHT
mentalperformances.com

Dear Sanna - being a ballerina

Sometimes I am amazed at the way our ballet mistress can take a piece of horrible choreography and give us corrections and actually make something out of it. If it were me, I wouldn't even know where to start cleaning some of the crappy ballets we do. It's really amazing the way she can make the ballet look completely different without really changing the steps.

...which brings me to the simple little epiphany I had today: dance like a ballerina. I know. Incredible breakthrough. But really, when I pictured myself dancing the choreography as if I were the ballet mistress, it felt completely different. The artistic director (and many others) have told me many times I look as if I'm not trying or not enjoying the dancing, even though they know I care a lot and really love it. So I just need to think about how much I love it, or pretend I love it if it happens to be choreography I don't love. Simple as that and my face changes and I don't look like I want to crawl out of my skin. Hopefully. Of course it's not magic, but makes a big difference.

Janie

Dear Sanna - being flexible

That is so cool we were featured in Notes From Upstage Left! I'm glad our blog is interesting and helping people.

A boy in the company took a 3-week leave starting yesterday, and the company really took it hard even though we knew ahead of time he would be leaving. I, personally, just realized how much we actually dance together. Nearly all of my partnering is with him. Luckily, we have few performances the next 3 weeks, and none with pieces where we partner a lot. However, today we had a special studio exposure to determine which pieces we will be touring with next year, and we had to show a piece I dance almost entirely with this boy. And we found out about it yesterday. Perfect.

So I assumed I would be dancing with the official understudy of the piece, who actually dances the finale with me. He's not the greatest partner ever but I am at least comfortable with him. But I should've known that wouldn't be, since understudies are so rarely used in small ballet companies like ours. They just make the poor saps who aren't in a piece hover around the back of the studio for all eternity, never going in, so that when they are actually needed somebody else goes in instead. When I first heard of my possible partner prospects, I had an instant stomach ache.

I was sure I had mentioned him before, so I looked back to older posts. I said this "more experienced dancer" made me shy. Well that was an understatement. It's moments like this that make me appreciate that this blog is anonymous, because the truth is I have a huge crush on this guy. It's just a crush and nothing more, because he is married, besides the fact that we can barely communicate with a spoken language and I can barely look at him. I know it's completely stupid, but I can't help it, and I find myself spotting him in the room all the time. Anyway, partnering any dancer with seniority over me always makes me uncomfortable, and the replacements for my partner all dance principle roles. And if it's not enough to have to teach a new partner and get used to dancing together and embarrass myself with only one day to prepare, I ended up dancing with 3 different partners (4 if you count the finale where my partner did not change, and 5 if you count my old partner who I only stopped working with yesterday).

My stomach was in knots, for my own mind, and also because I knew the artistic director would be especially critical of me. The girl is always blamed for partnering malfunctions here. But it was surprisingly not that bad. The director even said I looked good (with my crush! hehe just kidding that part doesn't matter...) but I just needed a little more punch.

Anyway we'll see what happens during rehearsals for the next few weeks until my partner returns. I hope it's not a whole new nightmare if he is really out of shape when he comes back.

Janie

DanceMind: Dear Janie, Back on Track

Hello there,

I will be address a few issues tomorrow. Stay well. 

Sanna Carapellotti, MS CHT

Oops is a BIG sale for YOU!

I misblogged on the reduced price of Stepping to Sleep, the restorative power sleep program for dancers. It was $10.00 off the retail price of $35.00,   NOT $10.00 as is blogged on Notes FromUpstageLeft.

NO PROBLEM!

HERE IS WHAT I AM GOING TO DO FOR YOU in time for your Spring Shows, summer intensives and auditions.

Tuesday, March 31, from 12:00 am to 11:59 PM, 

Stepping to Sleep will be $10.00 (plus S/H).

$10.00 for you!

You won't believe the power of this program. The best thing is you  put your feet up and go to sleep and improve your dancing. I guarantee it. Since Dance Magazine recommended it June, 2008, performers are realizing that tossing and turning, not sleeping well enough and staying up worrying about performances is a waste of time when you can be sleeping and conditioning your mind at the same time. Believe me you will feel different and dance stronger.

Be a well slept dancer! Your teachers will notice as Caitlin's did in Louisiana. Her teacher poo pooed that sleep was the sole influence in her change until SHE SLEPT!  Belive y still have to work and train, however, imagine if you were not tired! Dance rested.

You'll learn why sleep is vital to dance AND the most important reason why you need to sleep.

If you have any questions - you are welcome to call me 412.344.2272, and I will get back to you personally.

Thank YOU. GOOD NIGHT!

Sanna Carapellotti, MS CHT

Mentalperfromances.com

DanceMind & Notes From UpStage Left

DanceMind is being featured on this blog today! Cassandra Schaffer, a dance teacher and dancer, is the writer of this blog. She discusses anything dance in a way that is fun and quirky. She teaches and inspires through her musings. Ck it out - http://www.notesfromupstageleft.com

ALSO, to help all of you with your upcoming performances and as another way to get the word out that dancers can use mental training to strengthen performance, even if you have no stage fright or issues. I dropped Stepping to Sleep audio $10.00! That is over 30% -- I am not going to compute it exactly.

SLEEP - Even if you sleep, are restless at night or toss and turn with worry, this program will will lull you to sleep AND strengthen your performance! Not only do you sleep better, but there are mind empowering suggestions that literally improve your dance presentation.

There are also muscle memory boosters in there BECAUSE THAT IS WHEN IT HAPPENS. Not at the studio where you are pounding it out. AT night is when muscle memory strengthens and if you are NOT sleeping you are losing out on an easy way to improve your dance.

Listen to it for one week and you'll be rested and dance better, I guarantee it! ... Hey Dance Magazine likes it!

Have fun reading Cassandra's blog!

Sanna Carapellotti, MS CHT

Performance Therapist

mentalperformances.com

Dear Sanna - Performances

It's funny, I was just discussing with a friend what I liked about dancing here, and a lot had to do with performance experience. I think I have grown a lot this year when it comes to performing, since there is so much.

First of all, I really know what I need to do to warm up and prepare myself for a show now. I do class as full out and close to normal as possible. I treat it like any other day, because for me it is more important to get warm and feel normal than to save my energy or something for the show. I always have enough energy. Then after class I know I need to stay warm with the right warm ups and the most important things I need to stretch or re-warm up before the show. For example, I always stretch my frog and splits as a priority.

I am also getting better and knowing when and how to do my hair and makeup so I am not stressed for time before the show. Usually with school shows there is plenty of time, but here we are constantly touring different places with different dressing rooms and not always a lot of time.

After this it's just important to relax and talk to others if you want, but also know how to block people out if you feel you need to focus. Depending on the piece, I usually like to at least think through all the choreography in my head, and often practice things on stage before the show. If we don't do spacing together, I like to see where I will dance, so there are no surprises on stage. Things like this make me feel more comfortable when I am performing.

When the curtain actually goes up, I either try to distract myself from nerves back stage with whatever, if it is a piece where I need a lot of character more than technique, or I really focus on what's going on and what I'm about to dance if it's something technically demanding. When I am dancing I try to think of something pleasant and simple in the back of my mind, so I can let my muscle memory perform the steps without my mind wandering too much. I try to practice this kind of thinking even in the studio rehearsals. I try to picture what the stage might be like and pretend each rehearsal is a show, so I can dance just like I do in the studio.

Most of these things really seem like common sense, but at least for me it took experience to really apply a lot of simple ideas. Just dancing like you do in the studio on stage sounds simple but takes a lot of mind power.

Janie

DanceMind: Dear Janie, SPRING into Performances

Bell sent me an email -- She says that back stage is very crazy that it is hard for her to keep calm. There are moments when she wants to scream. She went on to say that she feels as if she stumbles onto the stage and it takes several beats to get her footing. 

Any one else?

DanceMind: Dear Janie, SPRING into Performances

With Spring performances around the corner, it may be a good idea to discuss how to manage oneself back stage so that no matter what happens you can move into performance with strength and power. 

First -  What do you currently do that helps you? How do you manage yourself?

Sanna Carapellotti, MS CHT

Performance Therapist

mentalperformances.com

DanceMind:Dear Janie, Uncontrollables

Be Ready.

Dear Sanna - these days

The other day I found myself the first one in the studio before rehearsal, so I was alone with the artistic director.
"Janie I was watched you in the performance yesterday."
Oh no. "Oh?"
"Yes. Nice legs. Good girl"
Whew.
"And in the first piece, you did Rachel's part?"
"Yes"
"I couldn't tell if it was you or her. Good girl! Good energy"
"Oh good thank you!"

I was shocked. Actually something nice to say without one backhanded addition! It was such a nice change. But not to worry - I always find something to complain about...

Today when the schedule finally came, about 30 minutes before class, which is so typical, we found out we had a photo shoot in costume. I was so annoyed. They could've at least told us yesterday so we knew to wear a little makeup, do our hair nicely, and even not eat such a huge breakfast since the costumes happen to be extremely revealing unitards. Grrrrrr. So luckily some people had a little makeup we could all borrow while we frantically tried to get ready. I didn't even have proper underwear for the costume, so I had to wear tights underneath. Just so many annoying things that could have been so easily resolved if they had given us even 12 hours notice. Ahhh well but life goes on. Hopefully I got a few decent pictures...

Janie

DanceMind:Dear Janie, IN between the dancing

Your post on 3/11 reveals how the time in between performance can influence stage presence.

Rushing, new marks, new choreography, a change of costume, last minute changes .... You can literally feel as you are thrown out on the stage on pointe no less! There is a lot of activity back stage that can distract you unless you take charge of 'a controllable.'

There is noise and movement that you cant stop and some of it is necessary.

Let's a take a look at this 'in between the performance' experience.

Any thoughts can be helpful. Struggles, Insights ... Become aware.

I have to prepare here for a client --
Sanna Carapellotti, MS CHT
Performance Specialist and Therapist

DanceMind: Dear Janie, Hello there ...

Well, where have I been?  This last week has been excitingly busy. I am off to sleep because tomorrow I am headed to day 6 of Hellinger training.  This work would be likened to you loving a certain piece of choreography. It feels good, You have a lot to learn. Yet it resonates within you. You have to do it. You have to dance it. It takes your breath away.

What I wonder as I consider this healing work with performers -- I wonder who is sometimes in the way of a performer/dancer when they cannot or struggle to succeed?  Sometimes it is not who you think. (Hint -- Not you!)

I am looking to connect the dots here.

Janie,  The less resistance you have to such shifts and changes the more flexible you are in mind and body. You are free to dance.

Your list of controllables a few posts back are actually pretty good. I am pleasantly surprised. You have learned a lot.

It is step after step after step after step after step after step after step after step ........................

Back in touch.

Sanna Carapellotti, MS CHT

Mentalperformances.com

Dear Sanna - That's show business

Friday the company lost two girls. It wasn't such a horrible thing they left, because the artistic director didn't exactly love them, so they also weren't extremely happy. However, it was a really inconvenient time to lose two members of our corps. We had to have an emergency rehearsal, shifting everyone around for our performance Tuesday, which meant me doing a few extra little things, and one completely new part I had only understudied before, not to mention dealing with a lot of other slightly confused people on stage. So it was the day of the show and I had had ONE rehearsal of the new part, and of course we had no time to get ready. I was putting my shoes on when the ballet mistress grabbed me and the other two girls who do the new part with me to quickly space it on stage before the show, which was kind of important and good, but also then I really had to rush to get ready, which is sort of stressful. Anyway there were a few terrifying moments, but for the most part it was okay. After the new part was over though, I still had the entire ballet to do like normal.

With a few changes in the corps, I found myself on the wrong side of the stage at one point, and wearing the wrong costume at another. Luckily for me, I have observant and kind friends who went out of their way to tell me I was wrong, so nothing tragic actually happened. Just some REALLY quick switching of sides and costumes. But the ballet mistress gave good feedback, even if it was "good under the circumstances".

Then after the show, since we had spent a lot of time changing that performance, we had neglected what we are performing tomorrow, so we had to stay the whole rest of the day rehearsing. I was also just thrown into a new part in this ballet, too, so I am really having to think quickly this week. I am just trying my best to just focus on the choreography, so I have fun and dance and do my best. If I focus on the negative, I will only sabotage my performance.

Janie

Dear Sanna - Controllables

Okay I've been thinking about what is in my control, so here's what I have so far...

Things I can control at work:

1. My attendance
2. My work ethic
3. Practicing the choreography I know/learning what I can
4. How I treat others
5. My body (to an extent)
6. My technique (to an extent)
7. How I respond to feedback, positive or negative

Things out of my control:

1. My schedule
2. The classes and pieces I am given
3. Casting
4. Poor teaching or no teaching of choreography
5. How others treat me
6. The director's thoughts about my body, both true and untrue
7. The director's opinion of my dancing
8. How teachers correct me

Can you be tranced?

Check this quick exercise --

http://www.mentalperformances.com/?section=hypnosis

You'll be surprised!

Sanna Carapellotti, MS CHT

EVENT: Sleepless in Steubenville

Sleepless in Steubenville!

 http://www.talkshoe.com. SannaCarp. Hypnosis for Life

Thursday, Feb. 26, 8:30 - 9:30.  

Recorded Live.

Will discuss influence sleep has on our day lives and how you can make the changes you need to sleep better, longer and deeper. You'll hear surprising reasons why people do not sleep well and how the problem was resolved. Will discuss with Lou, her sleep concerns and help her get to sleep! Join us ... 

If you have any questions, email me sanna@mentalperformances.com

DanceMind:Dear Janie, Controllables

What can you really control? and not control? in your company.

Make a list.

It makes a difference. You will be surprised.

Would you list it out here, please?

Sanna Carapellotti, MS CHT
http://www.mentalperformances.com

Dear Sanna - back to usual

Of course all this ballet drama always blows over, so things are fine now...

We are getting ready for another slew of performances now. Nothing like tour or that really crazy few weeks at the end of the year, but a show or two every week, which is pretty fun. What's strange is that we're doing different things almost every time. It's a little confusing and stressful, pulling out pieces we haven't done in weeks, but it is fun to remember and approach old pieces with an almost fresh start.

This will be our first show since tour, so it will be a little disappointing to be back to such small stages after the huge theater where we performed last. And I will also miss the spacious, clean dressing rooms! Oh well, we'll see how it goes!

That's really all I have to report for the moment, but I guess no news is good news :)

Janie

Photo

Enjoy this photo of my daughter at a performance in Oct. 

Sanna Carapellotti, MS CHT

mentalperformancs.com 

DanceMind: Dear Janie, Hello there ...

Yes, thank you for your thoughts. It was a pleasant weekend though. I learned a lot about my family and can appreciate that journey. I also met a cousin who is best friends with my husband's cousin in another city in OH. 

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

There is a collision of thoughts in my mind as I read your last post. Hmm-mm-m. If you were sitting in my office I would use EFT (Emotional Freedom Technique) to stop your energy drain.

Janie, you cannot control what other people think and feel about you. I am going to say this again -

Janie, you cannot control what other people think and feel  about you.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

If you were able to speak honestly and frankly to each dancer who was dissing you they would begin about themselves. If someone feels like that there are personal issues. "Why her and not me?"  "I've been here longer."  "I learned this piece last year. Why does she get to do it?"

You do not know where that comes from either. Previous rejection? Low self-esteem? Personality style? Trauma? Sleeping with the director? Youngest in the family?  Desire to be famous?  Depression? Negativity? Bad attitude?

You are a professional. It is a business. At any given time they are looking for the best person to perform (even if there are political motives).  Sometimes it is height, level of technique, coloring, friendship, style of dance, ability to emote, depth of artistry ... yada, yada, yada.

You don't really know the who and why. Your work is to do your work the best you can. The tables can shift at any time. We have all been on both sides of the barre.  THIS IS AN UNCONTROLLABLE. You can control you ---

 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

They do not have to talk to you about how they feel about being cast or not cast. Are you their confidante?  Do you expect them to come clean about how they really feel?  THAT could be where the problem lies.  Ideally, how nice it would be to chat over the good and bad times, but not all are willing or capable of doing that.

I am driving home a pointe. You are employed by the company to dance. If you have a friend there and the two of you chat about this and that. Great.  Finding friends outside of ballet may be a good thing. Discovering ways to clear  your mind is desired and positive.  I believe there are some posts way back that address that. We can certainly bring it up again.

Let's face we all have pity parties. I had one last week. (Thank goodness my friend snapped me out of it.)  You are right it is not always about us, although we can certainly trigger thoughts and feelings in other people and we can influence them as well either way.

I had a client last month who after some work realized that he was responding to his artistic director angrily because she made him feel like a previous teacher. Sometimes there is history. He was not aware of it as it was happening in the studio. He saw the parallel and together we worked through it.

GET THIS -- When he let go and healed the old wound, his relationship with his current teacher changed dramatically. How do you explain that? Energy shifts influence other people too.

Sanna Carapellotti, MS CHT

mentalperformances.com

PS... I have to get this recording done and then we will do Gold Cup Dream Seminar.  Get ready! My musician guy has a deadline and I have to get this to him....

Dear Sanna - it's lonely at the top...

no not really i was just trying to think of a dramatic title! i'm not that conceited, nor that lonely, but the truth is i'm doing really well here and not everyone is terribly happy about it. the world doesn't revolve around me either, and maybe a lot of it is to do with their own personal issues, but i am feeling a bit of coldness from some of the dancers.

it's not as if i'm being cast as the principle in everything, but we are doing a bunch of new pieces and i am happily learning almost everything, and even first cast for a few things. it is such a nice change to be fairly new to a company and already being used, even over some dancers who have been with the company longer. some of my friends were either learning the same parts as me and i was chosen over them, or they weren't asked to learn things in the first place, and they are noticeably avoiding me. i understand maybe it's harder to talk to me about not being cast, but i never acted that way when it was me not doing things. at the beginning of the year i was really upset not to be learning a soloist role most of the girls in the company were at least learning, but i never held it against the other dancers. i learned a long time ago that if i held a grudge against everyone who succeeded i would not have too many friends. plus it doesn't make my life any better to be angry about it.

on the other hand, there are plenty of people who don't respond so childishly or haven't been given the chance to because they are cast anyway, so really i am fine. it's just annoying to think that some people don't want to be friends with me because i am well-liked by my boss at the moment. it's fun and exciting to be cast in a bunch of new things. i had a really lazy partner, however, who made me feel bad about making him do things full out too many times. there is a bit of a language barrier, and i kind of had the impression he was injured or sick or just really tired from too much rehearsal, so i either marked by myself or stood around awkwardly for a good part of rehearsals. luckily for me, the teacher noticed what was going on and switched the couples so my partner went with his girlfriend who wouldn't let him get away with being so lazy because i'm "too nice". my new partner is definitely ranked lower in the company that my last, but he is definitely not lazy and i really actually prefer working with him. i just hope it doesn't hurt my chances of being cast, since my old partner is usually used above my new one. oh well, we'll see.

janie

p.s. i'm so sorry for your loss, sanna. it's such a sad fact of life :(

Dance Mind - Oh dear -

Janie, I have to leave in the morning to go to a family funeral. It is sad. I will return in a few days.

Think about next week when you want to begin the program, "Gold Cup Dreams!"

Everyone can move along with us. It will help you to dream big! Ordinary goal setting is very out!  Pick a day, say Thursday and we can get to it!

What I would need you to do Janie is to hop on every day and respond. There will be audio and maybe a video and some info. This will be very helpful!

Invite your friends. Tell anyone who wants to DO SOMETHING bigger to join us! Not just for dancers ... Everyone can dream BIG!

Sanna Carapellotti, MS CHT

PS Janie, you can let me know.  I will ck my email but will be with family and traveling.

Love you!

Dear Sanna - let's go!

I am ready to set some goals, although I might need a little help because at the moment I cannot really think of very specific things...

Anyway work has pretty much been business as usual. We are learning 2 new ballets right now, one of which I really like and am definitely part of (pretty much the whole company is in it). The other is a little heavier, but I actually was surprised that I like it a lot, too. It's a bunch of couples, and the casting isn't really clear yet, but I think I might be dancing in some of it. It is hard to tell. Anyway we will see.

I feel a little funny in the second piece, because it is partnering, which is not exactly one of my strengths anyway. Then on top of that, my partner is always really really tired because we rehearse this ballet at the end of the day and he always has a full schedule of rehearsals and usually his variation just before. I would like to do it full out more often, but I can't force him to if he is tired. He also isn't really all that sure of the choreography, and seems to be hoping we stay second cast instead of actually going in. I don't want to nag or upset him, but I also want to be considered for the part. How can I show I want to perform if I can't practice enough to do it well with my partner?

Janie

DanceMind: Boundaries?

In sports and performance, the boundaries are not clear to say what is considered abuse or crossing the line. People also have different thresholds and tolerances. 

If you are told in the middle of class, "You are too fat for a tutu? I can never allow you to be put in a tutu." Is this abuse? (This actually was told to a dancer weighing 115 lbs.)

Is this teacher being appropriate and respectful? NO.

Alternative approach to dancer in private -- Discuss wght matters privately, if necessary. Make best choices for piece with staff. 

 More is tolerated. Less is discussed because of the potential ramifications. It does seem to me that after the situation is out of control then maybe someone speaks up.

Many years ago, when my daughter was in grade school. I spoke up. She was a child. I am her parent. A teacher was exercising the dancers in a way that was not appropriate. They were not being warmed up at all and had to do something (I forget now). I heard parents complaining about injuries and then my daughter and I talked. She told me what was happening. 

Part of this experience was for her to learn what is correct and not correct. She would then have information to compare.

I spoke up to the director and it was resolved. My approach was one of curiousity, asking, not entirely sure but here is what could be happening. I did not storm the castle or make accusations. I simply was asking for clarification. The director agreed that it was inappropriate.

VERY IMPORTANT - Most dancers I work with love most of their teachers. If you teach, your words go with your students  for many years, just as you have already experienced. You make a difference. 

Sanna Carapellotti, MS CHT

DanceMind: To Anonymous

Thank you so much for your thoughts. I agree that your vwpt because what you have shared is very common especially in ballet. I hear the stories and know the pain from clients.

Learning that there is nothing you can do about demeaning comments, or criticism takes hold at a young age. We are told not to tattle. We know if we make waves, others who are obedient will get roles.  We also risk other group members ridicule and rejection. Students have been asked to leave schools.  Our parents can also support this 'not telling' to avoid making waves. 

I understand becasue as a parent of a professional ballet dancer, I spoke up when she was younger and then when she was older I told her that it is now her turn to make the decision when to speak up, how to manage it personally and when to ignore.

The teachers my daughter and you respect are the ones who are firm, have expectations, know what they are doing technically, have a process and want you to succeed.  One instructor who my daughter adores was the toughest, yet the most supportive. Never demeaning. Not hostile.

She wanted to work for him.

A part of the comment that I want to address is this (I am not being critical understand. I am teaching you.)

This is  copy from anonymous --
"I have always assumed that you were supposed to just bite it and get over it. I think with alot of the abuse its just your job to toughen up and handle it. Artistic differences in styles, bad days, and people who barrage you with insulted questioning your work ethic you just need to shoulder. I don't think there's anything you can do about that stuff."

It is important to differentiate between someone having a bad day, or a firm,  demanding teaching style and those who are consistently aggressive, hostile and threatening.  There is a school on the East coast that literally has 'sickened' dancers, meaning, mono, panic attacks, IBS, eating disorders, depression ....  

If a dancer tells me about an ongoing experience that is bad and uses those words above to describe the situation - "Just bite it" or "You just need to shoulder it."   I would look for digestive struggles and neck pain/shoulder pain. 

This is where stress would be held in the body for this individual. If this is the case, then you must "care' for those areas and learn how to not HOLD the anger. You are a human being.  It is human nature. 

Because we mentally shut down, stay in denial does NOT mean we are not taking the insults into the body-mind and life. We are still effective. Blind love for ballet, dance at all costs - still has consequences especially when it is psychologically hurtful.

I remember in grade school the teachers were very mean and abusive. We did not tell our parents, and certainly could not go to the principle. I 'learned' to hate learning because of the experience in the classroom. Today, teachers are terminated in the behaved in that way.  Does ballet have a tomorrow?      

The real question is - How much can you take? How do you take it?  

I appreciate this discussion. This darker side of performance can be handled, managed with increased awareness. We can talk about that...

Sanna Carapellotti, MS CHT

Performance Specialist

Dear Sanna - the power of hindsight

It is amazing to think about how much I have learned in the past few years. As I was reading the posts about Julie, I had such strong memories of myself during high school and earlier. I had some teachers in ballet who I hated so much, I barely thought about dancing at all during those classes. I expended so much energy talking and thinking about how much I hated a teacher, when I could have been working on my technique, or at least enjoying my time dancing. When I think now about those classes, I just tried to make the time pass instead of taking advantage of my chance to improve. I often found myself rebelling against the combinations, as if to prove they were not good, and instead making it seem like me who was not good. If I would have accepted the challenge and made something of what I then thought of as a terrible combination, it would have been much more productive (and healthy, too, I think!).

It's so simple now to think, yes teachers can be annoying, but class is still class. Of course I still get annoyed - I just talked about how frustrated I was when the warm-up class did not prepare me for a show, but I certainly do not get angry the way I used to. I still try to make the most of class, and I really understand now and appreciate that class is for me. I make what I want of it. Teachers can give their imput, but it really is up to me how I want to work in class every day. Especially as a company member, nobody is forcing me to even finish class. I could slop through barre everyday and then leave if I wanted, but first of all there's no fun in that, and second of all I would never get any better.

I think Julie needs to remember why she is dancing in the first place. Teachers are important, and it's nice to respect them and be able to learn as much as possible, but if you really cannot like them, at least do your best work in class and try to make the most out of dancing. It is so true what Sanna says about negativity. It can completely change the atmosphere and the way you perform.

Janie