Years ago at the College of Marin, where I first got serious about learning harp, I took a Physical Education class from a teacher whose name I wish I could remember.
She was talking about swimming when said that every activity has two parts: the effort and the glide. And if you’re not riding on that glide, you’re not fully engaging in the activity.
I constantly ask myself: where is the glide in what I’m doing?
And I’m often frustrated that I think I’m missing the connection, focusing too much on effort, inhibiting my glide.
Then just this morning, writing my weekly e-newsletter, I was explaining that I often do things to push me past my comfort zone, as a way of expanding as a performer. I found myself writing this:
I’m constantly trying to figure out how to engage more with my work or my instrument … So I’m constantly pushing myself — often into situations where I’m way out of my depth.
This pushing all happens off-stage, kind of like the flurry of pushing you give to a scooter or a skateboard … and the glide is what happens on stage.
BOOM! Eureka!!! I never knew that! But I always knew that!
I always knew that the place I feel most free is between the opening note and the final applause of a show, but until this very moment, I didn’t know that that is my glide.
And while that doesn’t explain why I was recently inspired to wear a bathing cap on stage — it does explain I’m so driven to keep making that push.
My next show is Sat. Apr. 21, 2012 at the Shalin Liu Performance Center in Rockport, MA. Click for more info or just go straight to buy tix.
Your second TALENT is a writer!! 🙂
I’d have to say your writing has to split “second talent” space with you *drawing* ! I’ve always loved your sketches !
What a great way of describing something I have previously found indescribable! I have an audition next week and this has helped me think about how I feel about music and playing etc – thank you!
You are so welcome! And good luck with the audition – may you glide from preparation to mastery with aplomb!
Thought provoking! Wondering if “the glide” is also the silence from the audience during each song — since we are so captivated by your amazing talent, Deborah. I look forward to watching for your glide on the 21st in Rockport!!!
Yes … that exquisite silence is in many ways more expressive, intimate and impassioned than applause!
I think what you’re describing sounds like my experience with the Alexander Technique and Feldenkreis. Often the practictioner would have me move from sitting to standing-have her hand on my occiput and then glide my head with her hand to standing-the glide was the freedom to easily move to standing at the end by myself, the push was her hand
I love this example of the skates because of what it says about glide – and also because, as I read it, I had a flash of understanding that we try to bring a ‘way of moving’ that we’ve learned will work (walking) into a new medium (skating) and we don’t understand from the inside of our bodies, at first, that it requires a different way of moving, a different way of engaging.
I also love this example because of what it says about learning to integrate physically with a prosthetic – and I consider instruments and sports equipment that becomes a part or an extension of our body, to be in the same category as prosthetics.
And now, as I start to think about it, this one example of walking versus skating — and of learning to skate from the standpoint of knowing how to walk, could be a life’s exploration. Suddenly, I see it as a metaphor for everything about learning something new with a mind and body that knows something old.
Thank you so much for this comment!!