The stage was set. Completely dark but for the strung lights which dotted the artificial night. She let out a smooth breath as she took her position and rose up on her supporting leg – the right one – to the tip of her toe. The other leg lifted and turned out, the knee bent at a approximate 90-degree angle behind her, and she extended her arms upward and out. Her knee and ankle were in perfect alignment. She was perfectly still as she held the pose.
Soon ‘A Kiss in the Dark’, by Ernesto Cortazar III, filled the air. She waited out the count of the first few measures before her left leg moved around to the front and she turned into a fifth position stance. A temps levé – a hop from one foot to the other with the foot arched – and she began to dance.
For the dance she did a partner was not required and she sought to drown out everything and let the music fill her. But it had a long way to go, the music was peaceful, her soul was not. That is why she was dancing.
With each turn she spun away one of her cares. With each spring she lifted a worry and pushed it underfoot. Her movements were dramatic and expressive as the music reached its crescendo, yet they were precise and fluid at the same time. The complexity of the moves were executed flawlessly.
There was a story in every piece of art – but not everyone has the ability to see anything besides a beautifully performed dance and not the illustrated internal struggle.
Side-step move with a waltz turn, then one leg stretched forth, foot at a perfect point, before a partial turn while the toe dragged on the floor. A quick jump and the action repeated with the other leg, adding in a turn to the other direction.
No matter how close her fingers came to her body, they never made contact. It was a caress without physical connection that expressed a desire for touch. Her back and neck bent to form a smooth compositional arch while she stood on the pointe of both feet. Her hands were turned out at her sides.
The movements continued for the length of the song, all the while her breathing was smooth and controlled. She didn’t focus on anything but the song and the movements of the body. The end was marked by ten continuous perfectly executed spins. The music died down with the last spin, and she slowly pulled out of it. Arms fully extended above her as she stood again on the tip of her toes. Then, as the last few notes hung in the air, she came down from the position, legs moving out as she slid into a vertical split; ending with her forehead bowed to the floor and arms laid out in front.
Poses: from [Black Tulip] Poses – Snow Dancer #3 Set