The THREAD: May 2023

Another month has seemingly sped by. The days are getting shorter here in the Antipodes, the nights longer, colder and darker. Lately I have been watching the moon rise in the early evening, first a fingernail and now a more substantial crescent, glowing with its own beautiful reflected light. It is literally otherworldly, and I look forward to it each night.

May is drawing to a close. I associate May with emeralds (which is the birthstone associated with this month), with the randomly-acquired weird fact that babies born in May are on average heavier than those born in any other month, and with my much-loved and even more greatly missed aunt, Marita, whose birthday was in May. I’m not sure why these are all things that involve birth, but there you go. Freud would probably have something to say about it, but I honestly couldn’t care what it was?!

Anyway, without further ado, let’s get into the THREAD for this month.

THINK | HEAR | READ | EAT | ADMIRE | DO

I’ve been thinking about all sorts of things this month. Many of them have been prompted by what I have been listening to and reading, but others have been about work (because I recently started a new job and am starting to find my feet) and also about health (because my kids both went on school camps, and two-thirds of the students who went with them ended up sick with Covid or RSV or Influenza or really bad head colds). I also deal with children who are unwell when I’m working, so during the past month I have come to appreciate how good health can be a truly tenuous thing. Looking after yourself becomes far more important when the ill-health of others brings it into sharper focus, though I suspect my age also provides a useful lens to view health through.

For me and many of my friends, our parents are becoming elderly or unwell, and some have sadly already passed away. Our children are at an age where they can almost look after themselves, but they still require reminders to protect — or more accurately not to risk — their own wellbeing (and that, I suppose, will continue until I no longer have to submit online forms when I need to advise their school they will be absent). I’m far more aware than I used to be that my own wellbeing and that of my peers is often being worn down by all manner of things. Lengthy commutes and even lengthier working hours. The infamous mental load — particularly for women. Cramming all the extracurricular stuff in. “Stuff” generally. It’s all necessary, but it’s all…there. And it’s not about to go away any time soon. So, since I only have time for one personal training session a week at the moment, I’ve been trying to relish it, knowing that it’s an hour I have carved out for my own benefit: physical, mental, emotional. And since there is a meditative quality to the reps, I might as well through spiritual in there, too. I value that time more than ever now, and recognise it for the precious thing it is. As Anne Wilson Schaef said, “Good health is not something we can buy. However, it can be an extremely valuable savings account”.

On a similar note, I fortuitously stumbled across Julia Louis Dreyfus’ new podcase Wiser Than Me this month, and have been listening as she interviews older women, mining the rich veins of their wisdom about the world and how to live in it. So far I’ve heard her speak with Jane Fonda, Isabelle Allende, Ruth Reichl, Fran Lebowitz and Darlene Love, and I’m midway through the episode with Diane von Furstenberg. Each conversation has been interesting, revealing, and — without fail — provides me with either a much needed kick in the pants to do something (or to attempt to do it differently), or with a ‘nugget’, which is the word I attach to a piece of advice that rings as true as pure gold to me.

The women Julia Louis Dreyfus interviews are all inspirational in their own way, and I have found it interesting to hear them talking about all manner of things. Keeping active. Staying healthy. Dealing with regrets and disappointments. Navigating marriages and friendships. And suggesting that it might be a good idea to rid of the word “ageing” and replace it with “living” — because that’s what we’re all doing: living (or in Paris Hilton’s case, sliving — but that’s a story for another time and place).

I’ve been reading about women and friendships, too. First I devoured Kamila Shamsie’s novel Best of Friends, which brings to life the world of Karachi, Pakistan on the eve of Benezir Bhutto coming to power in rich and atmospheric detail, before shifting to almost present day London. The main characters, Zahra and Maryam, have been friends since they were teenagers. I’m not going to say too much more about it, other than I admired Shamsie’s writing a great deal, and recognised the truth in some of her insights, like this one:

Perhaps that was the key to the longevity of childhood friends — all those shared subtexts that no one else could discern. And perhaps shared subtext felt even more necessary when you both lived far away from the city of your childhood that was itself the subtext to your lives. Childhood friendship really was the most mysterious of all relationships, Maryam thought…it was built around rules that didn’t extend to any other pairing in life. You weren’t tied by blood, or profession, or an enmeshed domesticity or even — as was the case with friendships made in adulthood — much by way of common interests.

If you enjoy the novels of Elana Ferrante (such as The Lying Life of Adults or, more particularly, the Neoplotian quartet that begins with My Brilliant Friend and features a similar pairing of friends in Lenu and Lila), this is definitely in the same wheelhouse and well worth your time.

I also read a fabulous book by Meg Bignell called The Angry Women’s Choir, and followed that blast of fresh air with Laura Imai Messina’s more subdued but still beautiful novel The Phonebox at the Edge of the World. Both are great and I recommend them.

In terms of what I’ve been eating, soup has featured prominently on the menu for me recently. I generally make a big pot each weekend and use whatever we have most of in the fridge, then take it to work for lunch. So far I’ve made a couple of pots of celery and zucchini soup (the zucchini adds much needed creaminess to the otherwise potentially stringy celery), and more recently have made a giant tureen of another favourite: pumpkin soup. I’m planning on doing another pot of something on Tuesday — I have some pearl barley so I might do good old fashioned vegetable soup and use up whatever odds and ends are in the fridge.

Last week I was also lucky enough to eat out a few nights, because both the kids were away on school camp. Having a couple of unexpected mid-week date nights with The Bloke was great. We hit up a couple of local favourites, first Teddy Larkins and then the Manly Skiff Club. Both were great — but the best bit, for me, was the company. Sometimes it take being away from the whole family for an extended period to remind me that The Bloke is still very much My Person, even after twenty years. It’s nice to know we still get along, too.

In terms of what I’ve been admiring, I finally finished watching The Americans. I know I’ve been late to the party on this one, but I was so happy when Disney+ released all six seasons I started watching it immediately and was just as quickly hooked. Keri Russell and Matthew Rhys are fine actors, and at the top of their games in this series (though Rhys was also fantastic as Lloyd Vogel in A Beautiful Day in the Neighbourhood, which starred Tom Hanks as Mr Rogers). Noah Emmerich also deserves a massive shout out for his role as FBI agent Stan Beeman, the unwitting neighbour of extremely active Russian KGB agents Philip and Elizabeth Jennings (played by Rhys and Russell). Emmerich has now gone from being “Oh, it’s that guy,” when he appears on screen to me actually knowing his name.

The Americans had it all for me, but really delivered in two areas: nostalgia and tension. The sets, props, costumes, language, everything took me straight back to my childhood, and made me realise just how much (even in Australia) the Cold War hung over our heads in the 1980s. The tension, on every level — international, suburban, intergenerational, marital — was brilliantly orchestrated and calibrated, and truly masterfully delivered in the series finale. For my money, the absence of dialogue and use entire musical tracks in the finale following the now-famous garage scene (let’s face it: it had to happen eventually) was a brave decision that — for my money — absolutely worked. Now I’ve finished watching it I feel slightly bereft, but also in need of television viewing that does not leave me realising I’ve been holding my breath.

And now, finally, onto doing. The Bloke and I unlocked an adulting achievement this month when (drumroll please) we managed to park our cars side by side in our new garage for the very first time. After decades — yes, decades — of tandem parking and having to do the old switcheroo when one of us needed to get one of our cars out, we can now simply press a button to raise the garage door and back out down the driveway. I realise tandem parking is the epitome of a First World Problem, but to say this achivement is momentous is underestimating how truly lifechanging this has been for us.

The other thing I did (another drumroll please!) was take my wonderful mother to see the Ballet! If you cast your mind back to the second edition of the THREAD, you might remember I was sad to think that I would never get to see Adam Bull dance again before he retired from the Australian Ballet. Well folks, I did get to see him perform — in one of his last shows at the iconic Sydney Opera House. Mum and I had a fantastic afternoon on a truly sparkling Sydney day (you gotta love this city)…

…and we absolutely loved the performance, which was called Identity and featured two works, The Hum by Daniel Riley and Paragon by Alice Topp. Spending the whole entire afternoon with my mother was such an incredible treat, and I was so grateful to The Bloke and our kids for looking after The Professor while mum and I quite literally sat back and enjoyed the show. In fact, we loved it so much we’ve booked to see another show together later in the year — not ballet, but something equally enthralling which I will no doubt get to write about in October.

Anyhoo, that’s all for now. As always, I’d love to know what you’ve been up to and enjoying, so feel free to leave a comment if you’d like to.

Mind yourselves, too!

BJx

The THREAD: March 2023

I’m not entirely sure who said it (though I strongly suspect it was C S Lewis), but there’s an old saying that goes something like this:

Isn’t it funny how day by day nothing changes, but when you look back everything is different?

It doesn’t feel like more than a month has gone by since I sat down and wrote the first of these THREAD posts, but here I am again. Only a few weeks ago that I was musing about raising teenagers, reading Jonathan Franzen and reminiscing about our (now far less) recent trip to New Zealand. That holiday feels like an eternity ago, now we are well and truly in the swing of all things school and work.

Since it’s been a busy month, I’ve got a bunch of things buzzing around in my head — so best to let them out.

THINK | HEAR | READ | EAT | ADMIRE | DO

This month I have been Thinking about the imminent retirement of Adam Bull from the Australian Ballet. I have genuinely enjoyed watching him dance over the years, and am sorry the blasted pandemic meant I had to put my ballet subscription on hold, meaning I will probably not get to see him take the stage again. I’ve never been a dancer (my body favours sporty stuff rather than the life balletic), but I have come to love and appreciate the athleticism, grace beauty of both classical and contemporary ballet. I will be sad to see Adam Bull’s tall and striking figure leave the company after more than two decades, but am grateful to have seen him perform.

I’ve also been thinking about how various artforms inform and inspire each other, largely because I have just finished reading Maggie O’Farrell’s book The Marriage Portrait. The novel opens with Lucrezia de’ Medici, Duchess of Ferrara realising — on page one, no less — that her husband intends to murder her, and that the portrait he has commissioned of her is being painted in isolated castello precisely because that is where he intends to carry out the fell deed without anyone realising or interfering. Needless to say, I was pretty much hooked from the initial paragraphs and finished the book in a night.

The painting which inspired the novel is generally attributed to Florentine artist Agnolo Bronzino, and also served as the stimulus for Robert Browning’s poem “My Last Duchess”. Like O’Farrell’s novel, the poem has an equally memorable opening:

“That’s my last Duchess painted on the wall,/Looking as if she were alive.”

When I first looked at Bronzino’s portrait, I was struck by how modern Lucrezia appears — and how worldly, despite her youth. She did not survive her marriage to the Duke of Ferrara, and died suddenly at the age of 16. Lucrezia’s dress in the painting might be dreadfully outmoded, but her expression is intelligent and her gaze direct. I went down quite the rabbithole trying to figure out who she reminded me of, and stumbled across this comparison, which seemed rather apt:

Fortunately, Anya Taylor-Joy is very much alive, and I suspect she’d do a great job of playing Lucrezia de’ Medici if The Marriage Portrait ever made it to the big screen — much like Scarlett Johansson did in Girl with a Pearl Earring, which was based on Tracy Chevalier’s novel of the same name, which in turn was inspired by the painting by Johannes Vermeer. Or how Adam Bull played the Prince in Tchaikovsky’s ballet The Sleeping Beauty, which was based on the fairy tales of Charles Perrault.

Is everything created somehow borrowed, rather than brand new? I’m not sure…but it’s certainly given me a lot to think about.

I finally got around to Hearing this interview Helen Garner gave Annabel Crabb late last year. Recorded to mark the occasion of Garner’s 80th birthday, it is a thought provoking hour of insights into the life of artists generally and writers particularly. I suspect one of the main reasons I enjoyed listening to this so much was that this particular interview was a discussion between two women I admire (and whose general vocabulary I covet). Then again, in my experience it is always pleasurable to listen to intelligent, articulate and opinionated people discuss…things. Anything, really. If they are speaking of something about which you know nothing, you have the opportunity to learn something new. Perhaps more importantly, if they are discussing something with which you are familiar, you may gain a fresh perpsective or better understanding of someone else’s point of view.

In any case, Garner spoke candidly about many things, including the self-doubt which plagues her whenever she is writing something new, the book she believes to be her worst, her views on feminism, the controversy provoked by The First Stone and her understanding of how and why that particular storm erupted and how it appears differently to her now. She also talked about her numerous journals, leading Crabb to extract a promise from her not to burn any more of them. I found the interview thoroughly entertaining — much as I did Garner’s book Everywhere I Look, which just so happens to contain a superb extended essay about the Australian Ballet.

In addition to Maggie O’Farrell’s The Marriage Portrait, I have been doing quite a lot of Reading lately. Truly excitingly, I strongly suspect some of the books I have read lately are Great Books (and yes, those capitals are Definitely Required). Last weekend I finished reading Ian McEwan’s lastest, Lessons, which was brilliant but requires further reflection before I write about it. A few weeks ago, however, I finished Shehan Karunatilaka’s outstanding novel The Seven Moons of Maali Almeida, which won the 2022 Booker Prize. This book got under my skin, and well and truly into my subconscious. Quite literally, I found myself dreaming things based on the pages I had read before I went to sleep — and, not surprisingly given the novel details the post-mortem exploits of a war photographer, they were not particularly pleasant things.

The Seven Moons of Maali Almeida is both a ghost story and a murder mystery, but is neither in the traditional sense. Set against the backdrop of the Sri Lankan Civil War, the novel demands you engage with all sorts of things including politics, religion, gender, class, friendship and family dynamics — the works. Despite concerning the exploits of a dead photographer during his first week an the Afterlife populated by supernatural beings, the book brims with roiling mass of humanity. This is a novel of colour and movement, peppered with dialects and idiomatic speech, bursts of hilarity and moments of adroitly observed insight, like this one:

Evil is not what we should fear. Creatures with power acting in their own interest: that is what should make us shudder.

I highly recommend The Seven Moons of Maali Almeida. A word to the wise, however: if you do choose to read it, really go with it. Suspend your disbelief and you’ll be in for quite a ride.

I next read Leigh Bardugo’s book Hell Bent, her sequel to Ninth House. Even though this is a fantasy novel with substantial supernatural elements, reading Hell Bent after The Seven Moons of Maali Almeida felt like returning to a reassuringly familiar world: not only is the geographical setting real, but the temporal setting is also close to present day. Additionally, the main characters are distinctly human…until they’re not. No spoilers here! Though I’m genuinely looking foward to the next instalment of Galaxy Stern’s adventures.

In terms of Eating, I’ve been getting a lot more organised and have resumed menu planning. Not only does this save me time and reduces my mental load, but it also boosts the variety factor when it comes to family meals. The added benefit of posting the week’s menu ahead of time is that other family members can also pitch in and start meal prepping if needs be (not that this has ever happened…I live in hope). Knowing I have increased work commitments coming up next term, I am making an effort to get into good habits now and and am reminding myself of meals I can cook ahead or dinners that are “one pot wonders”. In this vein I’ve also been calling to mind various traybake recipes, and have been figuring out what (other than muffins) I can make as lunchbox treats.

Since we’ve had a long hot March, we’re still enjoying our salad days — especially the salads featured in Hetty McKinnon’s brilliant cookbook Community: Salad Recipes from Arthur Street Kitchen. I don’t think I own a single coobook I have made more meals from than this one, and our most recent discovery from this gem is Pumpkin with Chickpeas, Toasted Coconut and Lemon Tahini (except we ditched the Lemon Tahini dressing in favour or a bit of extra lime juice). It’s a Fijian inspired salad, packed with fabulous flavours and topped with the satisfying crunch of toasted pepitas. It’s also truly delicious.

Admiring is one of my favourite sections of the THREAD, and this month I cannot go past the brilliantly and blackly comic television show Bad Sisters. Set in present day Dublin and featuring five sisters, the first episode features the funeral of John Paul — husband of the second eldest of the Garvey sisters, Grace. It turns out JP, during his life, was quite a piece of work (abusive, controlling, manipulative and generally nasty) so it may come as no surprise that the storyline flip flops between the past — during which all four of Grace’s sisters have some sort of a go at bumping off their evil brother-in-law to rescue their sister and niece — and the present, when a harried and hapless insurance agent is desperately trying to prove JP’s death has been caused by the Garvey sisters’ foul play so he does not have to pay out a life insurance claim. It is not immediately apparent who or what has killed John Paul, but the show is so darkly funny and entertaining that Marvel Girl and I binged the ten episodes over the course of a single weekend.

Back at the beginning of the month I also found myself admiring the glorious scenery that forms the backdrop to Yellowstone. I had been putting off watching Season 6 of this fabulous show, because I didn’t want to watch an episode a week. (I also suspect I was feeling slightly superstitious about watching the most recent season because I watched the other five while I was isolating when I had COVID, and a fresh wave was hitting around the time Season 6 came out). In any case, I adore the scenery in the show — which could probably, given how many people fight over the land in Yellowstone, be counted as a character in itself — particularly as it reminds me of the country near where I spent part of my childhood when our family moved to Canada for a couple of years. So, as it turns out, I watch Yellowstone the nostalgia it evokes for me just as much as the drama — and for Kelly Reilly’s vivid portrayal of badass Beth Dutton. Just as an aside — did you know Kelly Reilly is English? Her accent in the show is pretty tight.

And that brings us, as always, to Doing, though this month one of the main things I have been doing is waiting for and then celebrating the return of another stellar television series: Ted Lasso. Season 3 is landing at last, and not a moment too soon! There are so many things that I (along with the rest of the known world) love about Ted Lasso. The writing is so sharp it sparkles, and the performances — especially now we are three seasons in — are so well-honed they truly shine. Rather than fangirling at length over the cast, because I can’t think of a single one of them I don’t love, let’s just leave it by saying there are so many lines from this show that have found their way into our family’s daily vocabulary — not least of which is simply, “Oi!” — that I can’t imagine life without Ted Lasso. It’s that good.

Other things I have been doing have included making a concerted effort to maintain good hydration and to keep stringing together sessions with my personal trainer. PT sessions are easier to keep up with (you schedule regular sessions, you turn up: “Simples” as the meerkats say). Drinking enough water? You’d think it would be so straightforward, but making and sustaining this habit is taking me longer than I expected. I am incredibly grateful to my girls, who thoughtfully presented me with a large Ravenclaw drinkbottle for my birthday, because I now try to chug my way through this several times a day. I’m getting better with hydration, and I’m deadset sure it will be worth the effort, so…go me?!

Anyway, we’ve reached the end of the THREAD for March 2023. Like a piece of string, I’m never sure how long it’s going to be and this one has been a bit of an epic, (so good on you if you’ve stuck with me and got this far), so my head is definitely less “buzzy” than it was when I started. As always, I’d love to hear what’s buzzing around in your head or what you’ve been THREADing your way through, so leave a comment if you’d like to.

Until next time, mind yourselves!

BJx

The Truth Will Set You Free

Telling the truth.

It’s a basic building block of society. A moral imperative. Something we raise our kids to do; something we expect of each other. And yet, in an era where Fake News is a real and troublesome thing, it’s good to be reminded every now and then of how important telling the truth acutally is.

Truthfulness, not surprisingly, is one the Divine Qualities mentioned in the Bhagavad Gita, and while I’ve written about truth before, having the opportunity to view all sorts of virtues through a different lens has kept me interested in exploring the Divine Qualities during the course of this year. And, having spent last year focusing on delight in all its myriad and unexpected forms and often finding joy the tiniest of details, it is equally unsuprising to me that a couple of things have happend to me lately that inspired me to view truthfulness via…ballet.

Yes, ballet.

Relax, please relax — I’m not about to include video footage of myself or anyone else explaining truth via interpretative dance.

Rather, the first oddly inspirational thing that happened was that I didn’t go to the Ballet, even though I had planned to see the Australian Ballet’s final Sydney peformance of Counterpointe. The truth, difficult as it was to admit to myself, was that I was simply too tired to go. Circumstances (think sick kids, a bunch of meetings, various deadlines, a whole pile of domestic detritus and an emergency call to the Fire Brigade when my car unexpectedly started spewing petrol from its undercarriage) conspired against me, and I was exhausted.

So I owned it.

And I didn’t go.

I didn’t go, even though I would have genuinely loved to. I didn’t go, despite the fact it meant I missed out on the first live performance I’d planned to see since COVID hit. I didn’t go, which means I haven’t ventured across the Sydney Harbour Bridge in well over a year.

Most importantly, I didn’t go because I was honest with myself — and, as a result, was dressed for bed before the dancers stepped on stage and was slumbering well before the final curtain fell. I deliberately chose not agonise over my decision to stay home, so I slept soundly. I did not succumb to the sickness my kids had brought home, because I consciously prioritised rest. And that meant…drumroll please…that I was free to do the things I wanted to in the days that followed.

It may not sound like much — going to bed instead of going to the ballet — but, if 2020 taught me anything, it was that the little things are often the ones that really count.

Except when you’re Rudolf Nureyev, and then the BIG things count.

And, of course, that brings me to my second inspirational thing: watching Jacqui and David Morris’ 2018 documentary Nureyev. Even though the film has its flaws (when Rachel Saltz reviewed it for the New York Times she noted in her title “His Life was High Drama: this Film Could Use More”), all of the footage depicting Nureyev is transfixing. Regardless of whether he was performing on stage, being interviewed on television, or simply walking down the street, Nureyev commanded attention — and deservedly so.

Nureyev wasn’t just a star, he was more like a comet blazing through the skies.

His story has everything: childhood poverty, Stalinist persecution, rising fame across the Soviet Union, defection to the West at the height of the Cold War, global stardom, tumultuous relationships on and off stage and, finally, death from an AIDS related illness. He was a man in motion, from the moment of his birth — on a train, en route to Siberia in 1938 — and he lived and danced with an instantly recognisable intensity. The documentary does show some archival footage of Nureyev dancing, rehearsing and teaching, and also includes some memorable still photographs taken by Richard Avedon, but somehow the audience is still left wanting more — more Nureyev, more, more more.

And yet, despite its shortcomings, a couple of moments in the film took my breath away.

The first was during an interview, when Dick Cavett asks Nureyev (resplendent in a snakeskin tunic and matching thigh-high platform boots) whether he remembers the first time he knew he wanted to be a dancer. The camera switches to Nureyev’s face, capturing the exact moment when his dark brown eyes begin to gleam as he nods his head slowly, recollecting the occasion, and no doubt the feeling, of knowing that was what he wanted to do.

The truth in this exchange — not verbalised, but demonstrated — is palpable, and beautiful.

The second was when the film explored Nureyev’s defection to the West in 1961, an incredibly dramatic event not particularly well rendered visually in the documentary, but memorable because of the voiceover providing the words of Nureyev himself. Faced with the choice of returning to an uncertain future (and possible imprisonment) in the Soviet Union or remaining in Paris, Nureyev calls on the one person he thinks may be able to help him: French socialite Clara Saint, who at the time was engaged to the son of the French Minister for Culture. It is Clara who alerts the gendarmes at the airport that there is a Soviet dancer who may be wanting to defect, and it is also she who explains to Nureyev what he has to do in order to gain their protection.

You have to tell them what you want to do.

In other words: truth.

You have to tell the truth.

Nureyev then tells the French police:

I want to stay here.

And with those words, the truth set Nureyev free.

Sometimes, truth can be found in the tiniest things.

Other times, it’s in the very greatest things of all.

Without a Word

nijinsky-faun

Nijinsky as the Faun

I have been forever fascinated by how humans can convey the depth and width of their emotions without uttering a single sound. You may think it odd that someone like me, who relishes and cherishes the written word, would value such expression so highly – but, quite simply, I do.

I love watching people dance. I’ve written before about how my children do, too. And while I don’t mind a bit of a boogie myself from time to time, there are some things — ballet, for example — that I believe are best left to the experts. To those rare individuals who are disciplined enough to dedicate their lives to honing their skills and their selves to the point that they bare their very souls on stage.

On Saturday night I was fortunate enough to witness one such individual dance, when Alexandre Riabko took to the stage as a guest artist with the Australian Ballet in the title role of John Neumeier’s Nijinsky.  It was a powerful, masterful performance, vividly depicting Vaslav Nijinsky’s life inside and outside of dance via a series of memories and hallucinations as he descended, finally, into madness.

riabko-nijinsky

Descent into madness…Alexandre Riabko as Nijinksy.

Watching Riabko inhabit Nijinsky’s interior world, as other dancers recreated his recollections — of being the Golden Slave in Scheherazade, or of the Faun in L’apres midi d’un faune, or of Petrouchka, or of learning his ballet steps with his brother and sister  — was mesmerising. But as other dancers began to give form to Nijinksy’s delusions and as his complex relationships with his lover and employer at the Ballet Russes, Sergei Diaghilev, and with his wife, Romola, visibly unravelled, I was filled with an overwhelming sense of tragedy.

nijinsky-sheherazade

The Golden Slave…

The image of Nijinsky returning again and again to something like second position, arms outstretched, as though trying to find his centre and a sense of safety in the midst of his increasing confusion was heartbreaking, particularly when juxtaposed with the transformation of his memories of Diaghilev — performed with all his usual elegant line and length by Andrew Killian — from sensual lover and suave mentor to sinister impresario.

No footage of Nijinksy dancing is believed to have survived — Diaghilev, apparently, would not allow him to be filmed — but during the two and half hours he was on stage, Alexandre Riabko had me completely and utterly convinced that he was channelling the spirit of the man whom many regard as being one of the greatest interpreters of the artform to ever set foot on a stage.

I left the Sydney Opera House deeply saddened by the tragedy of Nijinsky’s tale — he never again danced publicly from the time of his final performance in 1919 until his death, after spending years in and out of asylums, in 1950 — but I was also, ultimately, uplifted by the sheer intensity, beauty and bravery of the performance I had just witnessed.

And I suspect that feeling — one of great admiration tinged with sorrow — would have stayed with me for the remainder of the weekend, had I not had the pleasure of attending a Greek Orthodox wedding with my family the following day.  My daughters had never been to a wedding before, and they were entranced by everything about the experience from the singing at the wedding ceremony to the table settings at the reception. But what really captivated them — and me — was the dancing.

Watching the wedding guests encircling the dance floor, every one of them tracing the intricate steps of a Syrtos, was every bit as mesmerising as the ballet had been the night before.  Here were women — some in sensible sandals, most in spectacular stilletos — and men following in the footsteps of those who had come before them. Here was a sure-footed groom, leading his radiant bride. Without uttering a single word, the dance spoke of tradition, of continuity, of community, of family.

And as the long line of dancers wound their way around the room, I found myself thinking of each of their bodies as a living link to the past, stretching all the way to the present and then onwards, ever onwards, as they danced into the night, celebrating with the newlyweds and wishing them a lifetime of happiness in the future.

syrtos

A long line of tradition and celebration…

To Baryshnikov, with Love

barishnokov_stting

Mikhail Baryshnikov…

Miss Malaprop has a case of the Baryshnikovs.

It happened quite accidentally, as these often things do: for some reason (still unknown even to myself) I was researching the great story-telller, Scheherazade, when I happened to click on a link to a YouTube clip of the Vienna Philharmonic playing Rimsky-Korsakov’s music of the same name.

Now, I’m not sure whether this phenomenon is unique to my children, but YouTube has a magnetic pull on my girls.  It’s uncanny — no matter what part of the house or garden they are playing in, the split second I start checking something out on YouTube they appear. Instantly. They then either try to squash themselves simultaneously onto my lap or lean heavily over my shoulders and usually end up obscuring my computer screen so that I can’t see a damn thing…

Anyway, this occasion was no different. Marvel Girl was at school, and Miss Malaprop had been happily drawing pictures of the Hulk and Thor (complete with swirling cape and hair so fine L’Oreal would definitely think he was worth it) when I began watching the Scheherazade clip. But there she was — yes, instantly — at my elbow.

“What are you watching?” she asked, her greeny-blue eyes already fixed on the screen.

“I’m not really watching, I’m actually listening — to the music,” I explained. “But if you want to, I can show you some music with dancing? Like when I go to the ballet?”

“Oooh…yes please, Mummy!”

And so it began. I was in one of my Russian moods (evidently, since I had begun with Rimsky-Korsakov), so first I showed Miss Malaprop the Dance of the Knights from Prokofiev’s Romeo and Juliet. And she loved it — the costumes, the dancing, the sets, the music; it was as though I had opened a world of wonder to her. But then she started asking questions about Romeo and Juliet and what happened to them, and…well, while I suspect the plot is best summed up in this e-card:

Romeo & Juliet

Seriously…they make several good points here…

…street fighting and teen suicide weren’t things I was ready to discuss with a preschooler.

So we moved on.

“Oh — here’s something you’ll like,” I said, clicking on another clip.

Those of you who follow this blog already know that Blue Jai’s First Rule of Parenting is simply “Distract” (trust me, it works almost every time). But on this occasion, it really worked: Miss Malaprop went from being simply fixated to utterly transfixed.

By Baryshnikov.

We watched him perform the pas de deux from Giselle, and then moved onto The Nutcracker, mostly because Miss Malaprop is familiar with Tchaikovsky’s score from her own ballet classes. Many of the clips are grainy, products of the long-gone days of videotape, but as my daughter watched Mikhail Baryshnikov dance she first grew very quiet, and then grew very still. And it wasn’t until later that evening that I realised just how deep an impression had been made.

You should see how high he leaps...

You should see how high he leaps…

At dinnertime, Miss Malaprop began explaining what she had seen, and did so with a reverence and wonder I have rarely heard from her.

“He’s the most angelic person…” she said, trying to express to her sister that what she had seen seemed super-human.

“Yeah, Baryshnikov.  He’s a man you know…but he’s the most amazing dancer. You should see how high he leaps! I just love him.”

And there it was.

Baryshnikov had acquired yet another fan.

Clearly, Mikhail Baryshnikov is not an angel, he is a man — and one who has been criticised (most notably by his former dance partner and sometime lover Gelsey Kirkland) for some of his personal and professional attitudes. That said, from a distance and, more specifically, from a preschooler’s perspective, I think there are worse people in this world Miss Malaprop could choose to look up to.

“Working is living to me.” Mikhail Baryshnikov

Dancing — as even Baryshnikov would tell you — is hard work. You’ve got to put in the hours, from an early age, and practice. And then practice some more. And then…yeah, you know what comes next…

But to be as good as Baryshnikov, you also need discipline: not just to do all that practice, but to develop good, or in his case, close to flawless technique. And the way Baryshnikov says he achieved that? By focusing on self-improvement: “I do not try to dance better than anyone else,” he says, “I only try to dance better than myself.”

It’s also, all too often, about making choices — some of them difficult. I cannot imagine that deciding to defect from the then Soviet Union in 1974 was an easy thing to do. But as Baryshnikov says, “To achieve some depth in your field requires a lot of sacrifices. Want to or not, you’re thinking about what you’re doing in life — in my case, dancing”.

And finally, there is one thing about succeeding as a dancer that, in my view, sets it apart: it exposes. On stage, there is nowhere to hide. You have to be prepared to perform, to reveal the extent of your abilities and the range of your expression, and to be comfortable with the result. And to do that effectively, and meaningfully, you need to know yourself.

When a dancer comes on stage, he is not just a blank slate the choreographer has written on. Behind him he has all the decisions he has made in his life…each time, he has chosen, and in what he is on stage you see the result of those choices. You are looking at the person he is, and the person, who at this point, he cannot help but be…Exceptional dancers, in my experience, are also exceptional people, people with an attitude toward life, a kind of quest, and an internal quality. They know who they are, and they show this to you willingly.

MIKHAIL BARYSHNIKOV

mikhail-baryshnikov

“When a body moves, it’s the most revealing thing. Dance for me a minute, and I’ll tell you who you are.” Mikhail Baryshnikov

My maternal intuition tells me that Miss Malaprop’s path in life is not that of a dancer: she is much more likely to use words (volubly and at varying volumes) than to express herself through movement. But if she chooses as role models people who literally embody what it means to work hard, practice harder, be disciplined and make difficult decisions, and if she makes the effort to get to know herself, I believe that she will succeed — in whatever it is she sets out to do.

This, perhaps, could be the moral of the story, though I suspect a cautionary corollary is also called for: if the YouTube phenomenon I described above extends beyond my house and into yours, be careful what you click on…it could change your child’s life.