Dancing Moth: Joon Dance 'Wild' Summer School 2017

I missed the Gather project in the spring, partly because I was seriously concerned that I would not be able to cope with dance movement on uneven surfaces (something I've been told seriously to avoid by the consultant and physiotherapist when my severe osteoarthritis was diagnosed). One of the locations was Newgale beach, and the last time I went there, I had problems for a few days afterwards, as getting down to the beach involves scaling a pebble bank. Difficult surfaces aside, I might still have gone for it, but a back injury put paid to that!
Having sorted my back out, I was determined not to miss Summer School.
Then, I was so wrapped up in editing work and preparations for this year's Cardigan Belly Dance Festival that I entirely forgot to register for it until the middle of the previous week.
When I got in touch, I found there were only two other adults registered, and I could do a sort of abridged version, without the break dance (which I was glad of, fearing it would break me!), and would be absorbed into the 'youth' group, as there were enough teenagers this year to create a 'junior' group as well as the 'Joon bugs' (little ones).

I'd already met and danced with the other two 'adults' and it was great to be with them again. I'd also met and danced with a couple of the 'youth' dancers and I was struck by how they had improved and grown as dancers.

The week started with the customary welcome by Zosia in the Torch Studio Theatre, where she introduced the teachers and reminded all that we were creating a supportive, friendly group. For our 'youth' group, Zosia would be leading an hour's contemporary class, followed by break dance with Dan Martin and topped by an hour's creative dance with the lovely Eeva-Maria Mutka, whom I already knew through her somatics workshops. After checking with Dan that he'd be okay with his class being watched, (which he was) we were off and into contemporary class.

It's been a few years since I've done a class, but I found myself immediately in the zone, concentrating on the exercise mark-through, dancing the exercise through, feeling for correct alignment and placement. Things went reasonably well until the floor work, when even using my hands underneath me didn't prevent me catching and banging bits of body and it hurt. I would have been interested to try the floor exercise in very slow time, seeking adjustments, but the main issue is that most of it only works if you can get down and up from the floor easily and if you can pretty much bend over and place your hands flat. My bad knees and bulky tummy create limitations and I felt annoyed and frustrated at my lack of ability, remembering a time when I found it easy. I need to do more rolling around. I vowed to myself that by summer school next year, I shall have sorted out my tight hip flexors and shall once more be able to sit in jazz 4th position.

I reflected that this wouldn't be a class for someone who had never done contemporary class. Had there been a group of adult beginners, I am sure Zosia would have organised things differently. And although teenage girls can be the worlds' worst bitches, these dancers were so lovely. In classes later in the week, I found they had a maturity and assertiveness which made them an absolute joy to work with, not to mention their dance skills. I know Zosia is very proud, having seen how they've improved over the years. Their parents should be very proud too. They were wonderful!

As last year, I found myself admiring the way in which Zosia had organised the teaching groups and the three available spaces (gallery, stage and dance studio). We were a bit cramped in the gallery, but it wasn't a problem. There was also an exhibition of Roy Campbell-Moore's photos of some of Zosia's recent work, which created a very inspiring atmosphere.

We finished the week with a performance on the Friday night, which didn't go as smoothly for me as I'd have wished, but it was fine. I had a sort of crown of twigs and foliage to put on at one point, and I elected to leave it just offstage in the dressing room, rather than risk it being trampled in the rush offstage from the previous piece. But in the dressing room, it got sat on, moved, and the path to it was blocked by dancers, which unexpectedly threw me when it came to the subsequent cues, but I don't suppose anyone noticed really. And I rather enjoyed being a dumpy little earth goddess wearing a bird's nest crown.