My Experience With Long COVID Forced Me to Acknowledge the Vulnerability of All Bodies

As a dancer, I have always understood how much I depend on my body. But I hadn’t ever thought about how much my world would change if it functioned differently. I thought I was rather invincible, with my young age, agility and health.

Then, one day, I couldn’t breathe. Not easily, at least. I became­ alienated from my body as it failed to do what I wanted and needed it to do. But let’s first back up a bit.

Before I developed long COVID, a collection of lingering negative effects from the virus, I had this subconscious expectation that I would find relief for any suffering I experienced. I have always had privileged access to the world. Being a white Jewish girl from Eugene, a small hippy town in Oregon, I have dealt with the occasional religious microaggression and familial issues, but the world has been available to me.

Last year, after my junior year at Scripps College via Zoom, I spent the summer in Bedford-Stuyvesant, Brooklyn, working on philosophy research and dancing in the city. I had felt bored and empty so often during the pandemic, but that summer I started to feel like myself again. I could finally dance large and uninhibitedly in a studio after over a year spent dancing in my room, banging my knees on the side of my bed. I went out with best friends who’d also migrated to New York City for the summer. Life was good.

Then, like so many others in late July 2021, I tested positive for COVID-19. Although somewhat shocked that I was a breakthrough case, I had a good feeling that my vaccine would save me from serious trouble and that after two weeks, I could return to business as usual.

During those two weeks of isolation, I slept for days. I discovered I had lost my sense of smell after my parents sent flowers. I cried a lot out of loneliness, screamed into my pillow out of anger, and stared into space, stripped and empty. My body had almost immediately weakened, shaky even when I tried to stretch.

On my first day out of quarantine, I tried to purge my body of this virus by renting out a studio to myself in the city. I spoke while I danced, shaking, rolling, sweating. When I left, I was beyond exhausted and felt a deep heaviness on my chest. Maybe that was too much too soon, I thought.

Back in Oregon, I had a week to rest before driving down to Scripps with my parents. I was ecstatic to start my senior year, in person for the first time since March 2020. On the second day of our trip, as I was carrying a lightweight table to the car, I stopped in my tracks, feeling a weight on my chest and the sudden need to sip extra air. I continued a few more steps and stopped again. Sipped more air. In the car, the weight started to feel heavier and my fear grew. I felt thirsty, but for oxygen instead of water. I started to panic, and then to cry. But the crying made it worse, so I practiced stifling my tears so as not to increase my shortness of breath.

My mom kept asking if I wanted to stop at the nearest emergency room. I had never felt so vulnerable; it was the first time I believed that something in my body could fail. We decided­ to pit-stop at the hospital, and learned that my oxygen levels were okay, above 90 percent, but I still felt pressure in my chest. It was safe to continue on our drive.

Finally, I was back on campus. I didn’t feel close to normal, but I told myself that if I took better care of my health, I would make a full recovery. I tried a few dance classes, but found myself gasping for air inside my mask halfway through. Each time I ignored my pain and pushed beyond my limit, the weight on my chest increased and my intense exhaustion lasted for nearly a week. I started sleeping through my 11 am ethics course and forgot to bring my computer and textbooks to class. I just couldn’t seem to get organized.

When my school doctor referred me to a long-COVID outpatient clinic, I was thrilled. To hear the phrase “long COVID” in regard to my symptoms was a relief because it meant I’d finally get help. On my first day at the clinic, I was observed during a six-minute walk, and my oxygen levels dropped so low that the lung specialist told me to absolutely stop dancing for the time being. Instead, I went to the clinic twice a week to get hooked up to the rolling oxygen tank while I walked at a slow pace on the treadmill, rode the bike at low resistance for 15 minutes and did some minimal arm exercises. I was the only person I saw below the age of 70 with an oxygen tank.

Though I’d mostly stopped dancing, I still had to choreograph a piece as part of my senior thesis that fall. In rehearsals, I tried to command the room with a motivating presence, but I often had to stop speaking to catch my breath, and I couldn’t demonstrate the choreography more than once or twice. We did our best and made something beautiful, but what I produced didn’t feel like me because I wasn’t fully there to produce it.

Not only did I have chronically low energy, difficulty breathing, dancing or walking up stairs, but this seemingly random sickness had now turned the world around me rotten. The putrid scent came on suddenly; it took me a week to realize that it wasn’t the things I was smelling, but that my sense of smell itself had changed. Many savory foods, coffee, smoke and my own body odor had started to make me gag. I would plug my nose at the dining hall. I later found out that my new condition had a name: parosmia.

Even though I was always tired, I resisted falling asleep because when I had nothing to distract me, I couldn’t ignore the heaviness on my chest or the fear, however realistic, that I might have died a premature death.

As I existed in my new state of being, I went through a long period of mourning for my past life, body, mind, smells and movement. I forgot what it felt like to sweat from moving and to be tired at night because I had lived such a fulfilling day.

I had to constantly ask for accommodations (like driving instead of walking to dinner) and to defend why I needed them. I couldn’t directly blame anyone, though. Invisible illness is difficult to remember. And I didn’t always understand what exactly someone could do to make me feel more acknowledged.

Still, there were a few friends who helped me feel less alone, who didn’t seem somewhat put off by my illness—who weren’t uncomfortable staying with it as a topic of conversation, asking questions and trying to brainstorm little solutions. They met me where Iwas, even if that meant sacrificing some of their desires.

This public health crisis has exposed the attitude our country has toward the chronically ill, the disabled, the sick, the dying and the old. Too often we hear sentiments like “It’s only the immunocompromised or elders who are dying from COVID-19. Why can’t they stay home while the rest of us live our lives?” I always knew this mindset existed, but my own health crisis allowed me to see it from a different vantage point.

The attitude is that the chronically ill, the disabled, the sick, the dying and the old are a burden to even think about. That their lives mean less. That they hold us back, instead of teaching us to see more. The truth, though, is that at some pointmost of us will be ill or experience a change in some ability or function, and all of us will die.

It was easy to see how my chronic illness made me weak. But in fact, it has given me immense strength for patience. The self-compassion required for resilience. The sureness in my own abilities, even when I knew I couldn’t yet use them.

The last year has forced me to see my own fragility but also my own humanity. We will constantly change, constantly develop new ways of moving and being. But we must keep trying to face, struggle with and see these changes. We will never escape the vulnerability of our bodies.

The post My Experience With Long COVID Forced Me to Acknowledge the Vulnerability of All Bodies appeared first on Dance Magazine.

Jerron Herman, Disabled Dancer, On the Power of Gut Feelings

When you return to a piece of choreography after a while, whether rehearsing for another performance or simply reminiscing with old company friends, it’s a kind of performer time-travel. The muscle memory is potent. You are pulled back to the stage with the emotions and knowledge and language you had then; you feel the heat of the downstage light. In the present you are connected to the past and your body lies in between, understanding both what you did then and who you are now. I think this snapshot encapsulates why I dance: I’m responding; feeling this fluid body gleefully rebound off of scattered invitations to perform, curate, choreograph. The body holds a time machine, and that experience of travel makes life sweeter.

I respond through my belly. It was there I felt a twinge and knew I should move to New York, knew I should enter my first dance studio, and knew I should perform onstage. It was what convinced me to pursue anything in the first place—the mixture of terror and delight, a weightless moment. It’s the belly that tells you you’re in your lane. Years of churchgoing had taught me the inescapable power of call and response, and how it’s important to voice your recognition. Words must form on your lips and air must push out of your chest to make a sound. There is nothing but movement in call and response, just a matter of degrees. So, I could only—when I think on it—respond with my body when I was invited to dance. This was revelatory and scary, because for years I was troubled by the incongruity of wanting to be an artist but having less than I wanted be available to me as a disabled person, as someone aged 20 just starting out, as someone new. Up until this point, I had strung together swaths of the full picture, enjoying glimpses of nearness to the stage, or a development process, or any variety of artistry.

“Dancing is the physical sign of the ways I say

yes to art every day.”

Jerron Herman

I must say here that I always knew I could dance, not professional combinations per se, but I knew how to be boundless in my movement if only at house parties. Now, after an invited audition, a choreographer was asking me to join her company. Because dance was so audacious, so out there, I had to do it. On one level, I had no reference and therefore little reason to fear. On another level, I had always known how to be free, leaping in and passionately immersed, so there was a deep reference somewhere that would be my guide to successfully be a dancer. For the first years it was pure osmosis, merely absorbing the environment on the job. And then it became love, as I extended my authentic self across the whole environment. I saw myself in a line where thousands of performers precede me and thousands run after, but I’m taking this point in the timeline of dancers, lending my gifts to our ecosystem. It leaves me breathless to think that every opportunity I have is because I responded to one invitation. Dancing is the physical sign of the ways I say yes to art every day. And see how sweet it was to go back in time? Response is magic.

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What Type of Dress Should You Choose for Your Latin Dance?

Ballroom dance outfits, especially for the ladies, can range from flirty and fun to graceful and elegant. Latin dance in particular highlights the dancers’ legs and hips, making it more sexy and provocative. But what kind of dresses go well with each of the 5 Latin dances?

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This traditional Spanish is passionate and desirous. Your outfit should speak to Spanish aesthetics, like adding red or large ornaments or extending the length of your dress. You can also add polka dots, flowers, or epaulets to your dress to mimic the aesthetic of the matador and of the flamenco dancer.

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Samba

This dance is all about show and spectacle, and you’re going to want your dress to speak to that. Arguably the most important part of a samba dance is bounce. In order to emphasize the voluptuous movement of a samba routine, we recommend using boa and individual feathers as part of your outfit, especially around the hips. The feathers will synchronize their movement with your own, creating the volume and bouncy effect of the dance.

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One of the more provocative dances, this dance style focuses on hip movement. It’s all about the flirtatious and fun aspect of partnered dance. To forefront the hip and leg movement, you’re going to want bright, fun fringes. It’s suitable to have a short dress for this type of dance, or even a separate top and skirt.

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Last and certainly not least, Rumba. Rumba is all about sensuality and romanticism. For this reason, your dress should be revealing, but delicately and tastefully. The fluid movement of this type of dance asks for skin-tight outfits or dresses that wrap and hang around your body (consider silk). For a really eye-catching look, we recommend adding crystals to your outfit to make it glitter in the parque light.

With these tips in mind, you’ll find the perfect dress that’s right for you and your dance style for your next routine!

Gregory Richardson on Music From The Sole

Despite having grooved onstage with tap icon Michelle Dorrance for over a decade, Gregory Richardson doesn’t consider himself a dancer. The composer and multi-instrumentalist is the musical director of Dorrance Dance and has been composing and performing with the company since its 2011 inception, having met Dorrance when they were both playing in the indie band Darwin Deez. In 2015, Richardson joined forces with Brazilian choreographer Leonardo Sandoval to create the Afro-Brazilian tap company and live band Music From The Sole, which was recently awarded a National Dance Project Production Grant from the New England Foundation for the Arts. With steady support from Jacob’s Pillow, The Yard and Works & Process at the Guggenheim—where Music From The Sole performed its third commissioned evening-length work in April—Richardson says he feels more confident than ever in what they are creating.

My main goal is usually to make sure the dancers and band are all one sonic force. If someone comes to a Music From The Sole show, they’re going to get right off the bat that the tap dance is the percussion of the song, and it’s not making it overly complicated. What we don’t want to look like is a dance company with a back-up band.

A unique part of our process is seeing how the musicians move. We do a lot of body percussion—slaps, claps and snaps—and give everyone movement to do together, so we embrace what the nondancers, including myself, add to it. We found out that our drummer is a fabulous mover and just naturally adds these little flourishes and hip movements. He’s extremely fun to watch, so we incorporated that. He’ll be spotlit in the next show.

We blur the lines when it comes to who is composing, too. There have been pieces where I wrote out a percussion part, recorded it, took it to Leo, and he choreographed the movement so the taps could replace the rhythm of the song. On another song, Leo came up with a melody, and I was able to notate, arrange and put chords behind it. That’s turned into this huge, beautiful piece. So, we’re both doing melodic and rhythmic work.

When you’re collaborating, you never get to use every single one of your ideas. But since Leo and I really get to have the final say, it’s the first time I’ve been able to stake out certain priorities that I simply don’t sacrifice. It’s a lot of pressure, but it’s also a lot of fun.

I’ve learned to trade drafts often. If you rehearse the band and dancers separately and things evolve, you can start to get on different pages. You can be totally enamored with what you’ve made, but when you come back together, it’s dissonant and someone has to give up more than they’d like. As soon as I’m excited about something, I show it to Leo right away.

Traditionally, a musical director makes sure the music is being executed right, runs the rehearsals and takes care of personnel issues with the band. But Michelle is such a killer musician, dancer and percussionist, she’s at the helm in a full rehearsal with Dorrance Dance, stopping the musicians to adjust tempo or dynamics. She has a vision for what she wants the whole show to be—and good instincts—and that just makes my job easier.

Michelle has definitely been my model for growing and leading a company with integrity. Like when you go into a new venue, introduce yourself to everyone from the front-of-house manager and sound engineer to the lighting assistant. Bring them in like they’re your team, and they’ll be excited to help execute your vision. And when someone gives you an opportunity, you better wring it for every drop it’s worth. If they give you a week of residency time, you better be in there for 10 hours a day.

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