Trained for about 7 hours today, with a break for food in the middle. Took an ice bath once I got home and am still stiffening as I write this. Worth it. I like days when it seems I can go forever.
A trick I started working on today. It’s… harder than it looks.
Submitted by courtnee in status updates - 07.01.10 - 3:25 pm
The music is from the Batman Begins soundtrack by Hans Zimmer and James Newton Howard. Video footage courtesy of Block My Eye Films, which I edited over one insomniatic night.
This act is an illustration of the struggle to shed the defenses that bind us, finding strength in being vulnerable, and how sex contributes to the art of self discovery. This character is established earlier in the show as someone who is timid and quiet – until she finds herself seemingly alone with her obsession.
I have performed as Zita the Aerialist since 2005. During that time my focus has been to tell compelling stories through aerial performance, often as a mechanism to cope with the challenges in my life. This act and its meaning continues to grow with me, over time.
Submitted by courtnee in status updates - 06.09.10 - 11:55 am
Excited for the show tonight! Tons of hot acts plus 3 video angles and a still photographer. My stomach is full of butterflies. Fucking each other. Whee!
Submitted by courtnee in public - 05.12.10 - 11:28 pm
*sigh* Man.. this is probably going to be kind of a ramble..
“Courtnee Papastathis has performed as Zita the Aerialist since 2005. During
that time her focus has been to tell compelling stories through her aerial
performances. The act you just saw was an illustration of the struggle to
shed the defenses that bind us, finding strength in being vulnerable, and
how sex contributes to the art of self discovery. It’s also a really awesome
excuse to be naked.”
I was uncharacteristically nervous and emotionally raw before my first act, even for me at my most nervous I tend to get at this point in my career. I just couldn’t shake it. Performing, much as the rest of my life, brings an ebb and flow to things. Some days I’m calm as a cucumber, quietly beckoning the universe to bring it on.
Others, I have insecurity and doubt to deal with, or I’m worried about my body being hurt, or I’m highly invested in the emotional weight of the work I am presenting and going out there feels heavy, sometimes even scary.
Last night I had all of those things. It was potentially the last aerial performance I will do, and surely the last one I will do for a while. That was hard and sad and exhilarating at times, and it made for some emotional components to be present that I hadn’t gone through in a while.
I was also performing in an all aerial show, which can be harder on my self esteem and individualism than being the aerialist in a theater show. Even when I wasn’t looking, there were little things popping up, reminding me that I am just a drop of water in an endless sea. All the acts were very different, and all the acts were very good. We do what we do well and I am proud to be a part of such a high caliber production with such talented and creative people.
That said, some of these girls can do things I will never be able to do in less time than it took me to learn how to do a fucking hip lock – things I’ve wanted to do, tried to do and, depending on my perspective, failed at. In a way it can be hard to follow up someone who’s produced a rope act that embodied what I wanted to bring to rope the first 4 years of my aerial experience and never could.
On the flip side, what I bring to my work is unique and powerful, and I know that. In accepting my bodies abilities and limits, I’ve created the space to expose myself in a way that audiences rarely get to see and I am amazing at doing it. Maybe I can’t do open legged drops without wrecking my hips, and maybe my toes won’t splay the right way so I can do a toe climb, but god dammit when I am out there I own the living shit out of it. I own the living shit out of you.
The fact that I can’t even come close to doing the splits, that I don’t have a gymnastics or dance background and that I was a professional drug abuser in my youth rather than an athlete inspires and comforts my beginning aerial students. I have a triumphant and inspiring story to tell. That’s why I like teaching beginners – I want them to know that you don’t have to be a superhuman contortionist to be an aerial performer, and I want them to know that a lot earlier than I did.
Truly performing, for me, is taking people on a stirring emotional journey – along something that runs deep and strong in us as humans. Whether it’s my music, pretending to be a dancer or climbing things, that doesn’t change much. Sometimes I’ll put on a super cute outfit, hop up on a trapeze and practice while people are watching, and that’s really fun and fueling in its own right, but it’s not a true performance of mine. It’s not the meat and the heart of what I go out there for.
I brought that meat and heart and blood and guts and spit last night. People who had no idea of the health issues I am dealing with, or that I am potentially retiring from performing aerial, told me to keep doing what I’m doing with tears in their eyes. They told me it felt like an honor to be in the audience. They told me how inspired they were to create their own magic on a stage and share it. That’s the transformative power of the arts and it’s a beautiful thing that I feel grateful and privileged to have been able to cultivate for the last 5 years. Whatever comes after this, I’ll always carry that with me.
Stay tuned for more events. Maybe this is the time in my life where I learn to be graceful on the ground.
*sniffle*
(Thank you, John Cornicello, for the lovely images, and for allowing me to post produce them)
New introduction to aerial series is starting March 6th, with the awesome Lauren Kehl and myself presiding!
The next 4-week course will be offered on Saturdays from 3:00-4:30 pm starting March 6, 2010.
Time stands still when zita takes the stage. Performance Packages begin at just $150!
Zita the aerialist
From campy to class, center stage to ambient, and hot girl-on-girl action (for us grown ups), Zita has that certain something that will drop your jaw, spark your imagination, and open your soaring heart.
Submitted by courtnee in public - 11.20.09 - 1:59 pm
Who: Zita the Aerialist performs What: The Gold show When: Friday, Dec 18, 9pm
Where: Little Red studio, 400 Dexter Ave N How Much: $25 in advance, $30 at the door
The underlying mission of The Little Red Studio is to celebrate the intersection between art and erotic energy in a relaxed and positive space. What makes The Little Red Studio work is that models, artists, and guests are in an unconventional environment with the utmost of mutual respect. 18+ (It ain’t a sex club people, but you may see a nipple or three.)
Our Gold Shows continue to delight and infuse our audiences with a sense of artistic indulgence and fun social interaction. If you haven’t been to one in awhile, you may want to come check it out again and experience the new things, while relaxing into the familiar. If you’ve never been to one – well now is the time to come see for yourself what Little Red Studio is truly all about.
The performances will amuse, mystify and perhaps even move you, while the opportunities to engage your senses will tickle your inner artist and open your heart.
Tickets can be purchased online at Brown Paper Tickets or in person at the Little Red Bistro during business hours.
Who: Zita the Aerialist and Beverly Rose What: Introduction to Aerial class (adults only) When: Sunday, Dec 13 and 20, from 1-3pm Where:http://www.versatilearts.net, 7601 Greenwood Ave N
This condensed course teaches basic skills and techniques on rope, tissu, and trapeze, and is highly recommended if you’ve never taken an aerial class before. The particular structure of this course is two 2 hour classes for $60. Please join the announcement list to find out about upcoming sessions and read the FAQ at versatilearts.net before signing up. See you there!
Submitted by courtnee in public - 11.17.09 - 5:30 pm
Now offering REDUCED PRICE tickets, for people who don’t want to multitask by eating food while they watch the show! $15, available on Brown Paper Tickets and at the door.
Who: Friends of Vita Arts, 21+ What: Fundraiser for http://vita-arts.org When: Saturday, Feb 6 at 7pm! Where: Youngstown Cultural Arts Center, 4408 Delridge Way SW
How Much: $30 with food, $15 without!
We’re working on getting circus insurance so we can teach aerial in our Workshops! Juggling, singing, aerials, clowning and other performances, all infused with the cheesiest of sentiments. Will it be silly? You bet your fluffy cotton socks it will be! I’m directing the show which is sure to be a night of fun and frivolity, with all the proceeds going to Vita Arts. Obsidian was my dark and dwelling masterpiece; this is just going to be a shitload of fun.
Two courses of Snacky-food will be provided, and a cash bar with beer and wine will be available. Don’t come starving your faces off, but be prepped to graze and drink responsibly. NOM!
Submitted by courtnee in public - 11.01.09 - 5:45 pm
For my birthday, my trapeze partner Bev took me to try out flying trapeze at SANCA’s brand new flying rig. It was super fun, and pretty scary at first. Mostly, I thought the heavy bar was going to take me down before I was ready to take off. I got over that pretty quick, and graduated onto tricks faster that I’d expected.
Last Chance! Sunday Nov 1Â is the last evening I will be performing at Pink Door this year (as well as being the day before my 30th birthday)!
A recent review on Yelp commented “And then there’s the trapeze artist. I don’t know which was more impressive: her skillfulness, her costume, or just the fact that a restaurant would have such a thing with which to entertain the dining guests. Â Very cool!”
Who: Zita at The Pink Door What:http://www.thepinkdoor.net/ When: Sunday Nov 1, 6-9pm Where: 1919 Post Alley, Pike Place Market
Treat yourself to a lovely meal and come see me strut my tailfeathers in the dining room of the famous Pink Door restaurant in Seattle’s Pike Place Market. Reservations strongly recommended, ’cause this place is effin tasty, people.
This is a rare opportunity to see aerial performance in an intimate, close setting, simply for the cost of an amazing meal. Don’t miss out.
Submitted by courtnee in public - 10.28.09 - 10:16 pm
I am on the weirdest schedule now. My feet are puffy and sore. My face is angry from 12+ hours in makeup for days on end. I need about 4 massages to work this weirdness out, and I keep tricking out my jaw when I yawn. I have about 17 projects to catch up on and no end in sight to the onslaught of new ones. Ah, the glamorous life.
The super-secret shoot I’ve been working on since Sunday was worth it, however. Even the day I plowed through a 5:30am call, 12 production hours and high tailed it to Pink Door to do my 4 aerial sets immediately thereafter. The best part I reckon are the loads of amazing, lovely and talented people I’ve added to my list of acquaintances. That tends to be a heartening occurrence for me. The food was a close second. They fed us very well, and there is a lot to be said for taking care of your people like that.
I’m listening to Cat Power and prepping for the days ahead, so scheduled and packed I’m not really sure how I’m planning to get it all done and stay standing. I always do somehow, and often get it all done and more, so I’ll just trust that I know what I’m doing somewhere and press on. It was nice to go filterless for a while on a project I wasn’t in charge of – now, though, it’s back to the measured responses of an Executive Director. I think that takes the most work of all, some days.
A few weeks ago, Bev and I modeled for David Peterman, a photographer who is pursuing an interesting self censorship photo project. The idea behind the project is to give people the opportunity to censor themselves how they wish to, and to eventually create a print project of some sort. The “Censored” bars range from sad to ridiculous.
My view on the project is more political/social than the site, http://theyareonlypixels.com, talks about. I like how open ended the project is from the photographers point of view, it’s nice to see someone doing a community project for the sake of allowing others to express what they’d like out of it, rather than saying “This is meant to tell all the nude haters to screw off” or the like.
Strange. I just got deja vu.
Submitted by courtnee in public - 09.19.09 - 5:22 am
Who: Myself and Dyno performing aerial throughout the evening What: Flying House Productions: Just Art auction When: Friday, September 25 from 6:00 to 10:00pm Where: Fremont Studios, 155 N. 35th Street in Seattle
Elegant glass sculptures. Vivid watercolors. Oil on canvas. Stunning photographs. Delicate iron and wood carvings.
The silent and live auctions feature exquisite pieces by some of the Pacific Northwest’s premier talents, as well as pieces by gifted up-and-comers who have not shown in galleries or other usual venues. Proceeds benefit the Seattle Men’s Chorus and Seattle Women’s Chorus and the contributing artists receive 20 percent of the selling price of their work.
For more information on how to donate contact Murray McKay at murraym@flyinghouse.org or 206.388.1413.
The event will include one LIVE and two silent auctions, hosted cocktails, hors d’oeuvres, and entertainment by Seattle’s best Burlesque and Circus performers.
Submitted by courtnee in public - 09.18.09 - 8:46 pm
Seems to me, many people spend a long time building their lives into something they can be proud of, something comfortable for them, in order to be safe to accomplish another something that’s bigger than themselves.
I have done my fair share of struggling, trying different configurations, playing small and dreaming big. Over the last few years, I’ve contemplated what the bigger thing might be, for me. Sure, I sometimes make people happy with my art. I make money helping other people do cool things, I volunteer, and my financial/geographical footprint is about 15% of what it used to be when I worked for Microsoft. I even turn the water off when I brush my teeth most of the time. But what can I REALLY do to make a difference in life?
When it came time for me to serve the world somehow, I found that I wanted to create a non-profit organization to help perpetuate the transformative capabilities inherent in expressing ones self, artistically. To make a space for people to experience the healing opportunities I have had through art in a more tactile, kinesthetic way than I have with my personal offerings of performances, music, paintings and that sort of thing.
I know art saves lives, because it saved mine. I’ve seen the results, and heard the stories of others, about the power of artistic expression to heal and transform. Whether it be from seeing it, appreciating it, facilitating it, being it, creating it, failing at it, living it – I maintain that art has the power to touch absolutely everyone.
I’ve also seen how sharing myself artistically often effects and inspires people to action. How the experience of art opens people up to expressing life, to telling their once-quiet stories through a medium, helping discover courages and strengths we so often convince ourselves we don’t, or can’t, have. How art helps people face their fears, release difficult emotions, grieve, find direction and purpose.
Perhaps most importantly, I have seen how, no matter how bleak and helpless a situation may seem, one small, brave action creates a chain of them. Every time.
It’s never too late to choose to make a difference.
Vita Arts is sharing the power of art with the disadvantaged and transforming lives.
Our performances offer the public a chance to see our skills, and to be moved by the human spirit. Our shows also serve to fund and publicize our outreach efforts, working with individuals in small workshops, giving them a chance to experience creating art for themselves, perhaps for the very first time.
We are starting local, with two public performances and a workshop being planned in 2009 alone. We look forward to expanding our efforts in the coming years by collaborating with other organizations (such as disaster relief orgs, loss support groups, and those helping reform the incarcerated) to offer transformative art experiences to the disadvantaged of all ages, around the world.
Come find out more about who we are, what we’re doing, see a great show, and best of all, help make a difference.
Please note: If you are unable to attend this event and wish to support us, we are gratefully accepting donations. Provisional 501(c)(3) status is in the works, and will backdate once approved for tax deduction purposes. You may send donations to Vita Arts, PO box 20233, Seattle, WA 98102.
Thank you, so much, for your support.
Submitted by courtnee in public - 07.15.09 - 3:18 pm
Who: I will be playing an aerial siren as part of a beautiful love story
What: The aquamarine show at LRS
When: July 18, 9pm and Aug 15, 9pm
Where: Little Red Studio, 400 Dexter Ave N
Join us as Little Red Studio explores the exotic underwater experience of The Aquamarine Show! This summer we will transform our sumptuous theater into a wet, sensual oasis, complete with mermaids, nymphs, sailors and pirates. Come dive into one of the most alluring elements on earth, Water. Lets splash around together in this world of sensory profusion, relaxation, healing, and spiritual reconnection.
Submitted by courtnee in public - 05.30.09 - 5:51 pm
Who: A sampling of the last year with Little Red Studio.
What: I will be singing, and performing my favorite aerial piece for this show. It’s not to be missed!
When: Friday & Saturday, June 5th – 6th @ 9PM
Where: 400 Dexter Ave N, Seattle
$20 Tickets can be purchased online at Brown Paper Tickets or reserved by calling 206-328-4758.
We invite you to come enjoy some of your favorite performances from the past year here at Little Red Studio. This will be a chance to sit back as we bring you theater, dance, music, aerials and more from a variety of past shows. A few pieces you can look forward to include “Gett Off!” from the Dance Concert, “Party of Two” from Erotic Shorts, three aerial pieces, and music from the “Red Show”!
We hope you will join us for this stunning evening of entertainment!
Submitted by courtnee in public - 05.28.09 - 10:28 am
Who: The Cabiri will be setting up Daedalus, our freestanding aerial dance rig, for all-day performances!
What: Burien Strawberry Festival
When: June 21 11am-6pm
Where: 4th Ave SW & SW 146th St, Burien
Free!
Submitted by courtnee in public - 05.28.09 - 10:14 am
Who: Myself, Dyno and Tamara are performing aerial
What: A an outdoor, fire-cooked feast of medieval proportions! Food comes off the fires around 6pm. Make a day of it – come early and stay late. Smoke Farm has 360 acres to wander and a river to dip in.
When: July 12, from 2 to midnightish!
Where: Smoke Farm: 12731 Smokes Road Arlington, WA 98223
Burning Beast returns to Smoke Farm for its second, sure to be celebrated, culinary firestorm. The Stranger Slog called it “the worlds funnest and most delicious feast in a field cooked by Seattle’s best chefs.” Eleven star-studded cooking teams gather to prepare and master an assigned animal, vegetable and/or sea creature, whole or in parts, using fire, earth, steel and little else. The jaw-dropping list of participating chefs includes; Dylan Giordan (Serafina), Angie Roberts (Boka), Matt Dillon (Sitka and Spruce & The Corson Building), Garret Abel (DeLaurenti’s), Dustin Ronspies (Art of the Table), Gabriel Claycamp (The Swinery), Ron Jones (Jones Glassworks), Tyson Danilson (Le Pichet), Jonathan Sundstrom (Lark), Zephyr Paquette (Elliott Bay Cafe), Jennifer Alphonsine (Circa Alehouse), Seth Caswell (emmer & rye) – and more!
Entertainment included! Featuring aerial thrills provided by the amazing Zita, the incredible Dyno and Tamara the Trapeze Lady! Plus, music by ‘The Hallways’.
Atmosphere – outdoor casual. We encourage guests to THINK GREEN carpool, and bring along reusable plates, cups and cutlery (if you can). Plus – it’s a lovely place! Bring picnic blankets, swimsuits, comfy footwear, and healthy appetites. burningbeast@smokefarm.org for questions/info. See you there!
Many may recall the spectacular story of my ripping all three hamstrings in my right leg and mildly stress fracturing my ischial tuberosity attempting splits on the silks in April of 2004.
As a refresher; I was not warm, stretched to the max (which was far from representing an actual split), and my right hip (the front leg) popped, giving way to the weight of my torso. The tearing of my leg was audible throughout the entire practice space, I’d guess 6,000 square feet of warehouse. I was on crutches for 3 months as I recall, and it took me quite a long time to get back into aerial. When I did, it was to perform my first show ever, with The Cabiri for Trolloween in Fremont.
Now I’m working up to something at least resembling splits as a bit of a life goal, particularly in the silks. From my recollection, this is the best by front splits have ever been – and oddly enough, my ‘good’ splits side is still my right. Here’s where I’m at now, I’m pretty stoked:
Flexibility has been by far the most frustrating aspect of aerial for me, as I’m bendy by typical sedentary American standards yet not nearly as limber as most circus artists. Silks have historically only been for ‘bendy’ girls in my mind (along with hoop) until about a year and a half ago when I said fuck it and moved from rope to silks performances even though I didn’t fit my own ideal of a good silks performer.
With some time, patience, kindness to myself and body awareness, I’m slowly coming along and much less hurt than I used to be. I’m very proud when I look at this video. Thanks to Bev for taking it.
Submitted by courtnee in public - 05.03.09 - 12:15 am
Daedalus Rising was super fun. The weather was perfect for us, our audience was gracious and totally into it, and Daedalus is one sexy bitch!
I ate fire, got spun on the rope, beat the crap out of the artistic director and got to crawl through the crowd hissing at people like an animal. What more could I ask for, dare I say? Actually, I suppose apathetic sound guy could have picked up a clue or two along the way, if I had a say in things…
Our blocking for the exceptionally complex piece I was in went straight through the window with no lyrics for us to que from due to tech difficulty. I felt awful for The Red King, who traveled all the way from Portland to perform his music and had no mic. Thankfully he has an extensive visual element to his performances! We were off kilter, but pulled it out like crazy and our audience of 2000 people, a new personal record (SEAF last year was 1500), was totally stoked.
I was unable to see most of the other pieces. What I was able to see of the performances were well done – I’m impressed with the ability of the performers and crew to maneuver an uncontrollable outdoor environment and the various unexpected difficulties that provides.
It was a very productive, enjoyable weekend for me. Saturday started, after having trained 3 times this week, with a bike ride up queen anne hill and a rehearsal for the fashion show I’m doing on Thursday. I was exhausted before the art-a-thon even began, and my performance, though well received and wisely put to forgiving music and shameless nakedness, was less than technically stellar.
Aside from performing Saturday evening, doing a wee bit of art modeling and working out on the silks a bit to get some pictures, I focused on one large project – painting an 8 foot by 4 foot panel. And paint that panel I did, after what I realized had been nearly 5 months without painting. ugh! Unacceptable. NOTICE: racy, lengthly, or outdated content ahead »
Submitted by courtnee in public - 11.11.08 - 4:08 pm
The big day is approaching. The nights get longer, more rich and dense, as what is affectionately coined ‘hell week’ (by my friends who are much better versed in the in’s and out’s of theater than I am) pushes onward. I see why one might call it that, and there is no place else I would rather be, or anything else I would rather be doing. Perhaps that is where the energy to press on is coming from – cause it sure ain’t common sense or physical logic.
The show is, in a word, stunning. The creative process of putting this evening together has been flowing, expanding, fruitful and an absolute joy to watch. Working with others to this extent to project a vision into the world has opened me up to a whole new dimension of collaboration and possibility in expression as an artist and performer.
It’s just been a total pleasure to direct this project, this fine collection of artists, under a veil that has encouraged their expression and ideas, and to be open to receiving the wondrous results in allowing the unexpected to unfold. Knowing that the person I was, even a year ago, could not have accepted this gift.. well. Let’s just say, I feel good right now. Really good.
Did I mention how fucking awesome this show is?
Obsidian opens this Saturday, Nov 15th, at the Little Red Studio. Tickets and a short description of the show are available through BPT and Little Red Studio.
This is my first full fledged show. I am the creative director, co-producer, multiple hat wearer, and one of the main performers. If you like my work, it’s rather a given that you’ll enjoy this show. We are a tremendous crew, if I do say so. Come see it! It’s going to be friggin epic.
And.. Thank you, for your support all of these years.
Submitted by courtnee in public - 09.28.08 - 2:45 am
The Cabiri are now in rehearsal for their Halloween presentation of The Ghost Game: Tales of 13 Witches. I’m working up some serious badassery for this one, and from what I’ve seen it promises to be an awesome event, and one of the very few performances I’ve done for an under-21 audience.
Man. I am beat. And sore. And super happy. Or something like it.
The art-a-thon was largely transformative (or, transportive?) for me, in many ways. It was an intense weekend. More happened than I am willing to document, both for the sake of my poor body and because I want to hold some of it just for me. But let’s see what comes out.
The aerial piece I wasn’t going to do, and then decided to do, was a storytelling piece which in and of itself is a new thing for me. Incorporating acting and a storyline that’s clear enough for people to understand without alternate explanation is my latest progression in aerials, as well as slowing things down and expressing myself in less of the “look how strong and fast I am”. Expressing vulnerability in the air. I started by switching from rope to silks and doing “The Art of Self Love” act, in which the story is illustrated in the song lyrics.
This time, the story was illustrated by my actions, my face, and visual imagery. It was largely improv, a piece I’d only ever done in my head, which had come to me mid last week. Highly personal. Highly exposed. To those of you who may understand what it means to have finally done it – it was performed to music from the Batman Begins soundtrack (finally!!!). It was incredible, I got the most heart warming and appreciative feedback to date for my aerial work after presenting it. I will be doing the piece again at the Gold Show, on Saturday May 17th.
I painted some, sang some, spent time with friends, cultivating, supporting others works. I slept and took care of myself, spent a lot of time with Clayton that was beneficial and fueling for me, connected with new and old, past and present. I “acted” in a hilarious, incredibly fun dream theater play about superheroes and ninjas and girls who kick ass. I came to some heavy, wonderful realizations this weekend, which were fulfilling, nourishing, and highly meaningful for me.
After an intense and highly emotional conversation of the crack-my-heart-wide-open variety, I went to into the closing ceremony raw, feeling unprotected, impressionable, mailable, and a little afraid.
I’ve been feeling the presence of something, seeing it in my peripheral vision, something big, something I’ve worked hard for, as I’ve gone through the process of my blood paintings. The revisitation of needles, that process, which I have familiarity with in destructive senses, the spiral I see completing, the orbit I’m in, passing those experiences, washing them clean a little, redistributing new memories and associations to old hurts and self loathing.
I thought about that internal spiral while we walked a spiral maze that had been created on the floor during the weekend, in small groups. I thought about that sense of my life illustrated in physical reality, as I bumped shoulders with my chosen family, as I passed them while circling. Remembering that the last time I was using needles on myself, I was trying to die. Trying to run. Trying to lose my mind. I wasn’t safe about it. I overdosed. I used dirty needles, took risks. I wanted to hurt me. And now, I was surrounded by people I’ve cultivated in my life, to help me through that darkness. And they have.
To be drawing my own blood, safely (in perspective), sanitary, for the purpose of life, to express life, has been so grounding, confirming, strengthening for me. The bruises from it, while catering to my dark side, a part of me that recognizes the comfort I’ve taken in hurting myself, wanting to extract my pigment rather than wait for it to come naturally in my cycle (there are other reasons I don’t want to use menstrual blood, too) show me again and again that everything is a process, with polarizations, how much I adore soaking in all of it. All the aspects of it. How miraculous and intelligent our bodies are to heal themselves. And that we do heal. That damage is part of being alive, a part I don’t tend to hide from. That it doesn’t overtake my life. Not anymore.
Holding hands in a circle, a dear friend of the troupe and of mine personally gifted the studio with a giant dream catcher. She then offered us all feathers, which she had been collecting for the last 10 years, to attach to it to this new symbol of unity that will hang at the studio, and to offer something, or wish for something, or give thanks for something, in honor of ourselves while doing so.
I started crying. I couldn’t stop. I was holding something in view that I’ve rarely known how to hold where I could see it. It was glowing and morphing and brilliant. My gratitude for the space, for the people, for the experiences I had this weekend, for the love, for the gifts, the creativity, everywhere I’ve been, everywhere I am going – it was all wrapped up in this thing I was looking at. It was so beautiful to have, while I watched these people I share so much with participate in their rituals.
When it was my turn, as I tied my feather to the dreamcatcher, I cried harder, while what I had in my hands came into focus, in words, in my head.
I am so grateful, for my life. I am so grateful for my life. (I’m crying again writing this). I am so grateful for my life.
I felt liberated, and so substantial. Dense, and lofty. Dark, and light. Attached, and free. Flexible and sturdy. Vulnerable and strong. Overwhelmed, and grounded. I watched a great love of my life chose a place next to mine to tie his feather, mirroring its angle, silently holding his thoughts and wants dear to himself. I watched my sweet friend Cher give call to the universe to bring her sister back home. I watched one of my Heroes break apart a broken painting of his muse, and give a piece to each one of us. I watched my friend Gio honor his friends who have died of AIDS, a disease I’ve become intimately familiar with in the process of my education at school.
I watched so many wonderful people being present, being alive, being HERE, being them.
So much happened. So much I’m not mentioning. So many stories, paintings, pictures, songs, proses, dedications. So much space I’m holding for the world in this sore, tired frame, while I go about my dailys, integrating what I’ve experienced. Things that are happening for me, projects on the horizon that came about from this weekend and beyond, things to see, to do, to be, life to live. This was a fraction. Namaste. I bow to the light in all of you.
I am, arguably, on paper, in the worst financial situation of my adult life, right now. Rarely can I say I’ve felt so wealthy.
“I feel like a pearl of potential that’s finally been set in motion, snowballing down the favored slope of possibility I’ve only imagined the brilliant people must have randomly stumbled upon while slowly backing away from freaks like me.” Jan 28, 2007
Submitted by courtnee in public - 05.29.07 - 5:34 pm
School is leveling out some, just in time for tests and our next break. This quarter flew by. I got a 95% on my nervous system test. I guess my emotional resistance to the material didn’t keep me from soaking it up. I nailed my retake of the minor muscles test I so gloriously failed earlier this quarter, with the help of some new study habits and support.
I haven’t been training aerials at all the last two weeks, and aside from aerlift haven’t been in the air for quite a while. My arms gave out on me, but are getting better, and I hope to get back to training again and catch up on my massage hours in the next week or so. Now is a good time to ping me with your availability on friday nights and weekends. I will also be massaging through break this time, which starts in a couple weeks and opens up my weeknights.
Today I evaluate how important it really is to me to express myself. It’s not seeming very high on my list of priorities at the moment. Sometimes I wonder how much better my life would be if I just never said anything at all.
Cheers.
Submitted by courtnee in public - 10.11.06 - 10:33 am
In addition to working, doing the nutcracker, getting sick from the Nuva Ring and being horrified by the Animal Talk Break-in (update about it here: http://community.livejournal.com/seattle/4002758.html) I have also been in an epic struggle to choose between the Brian Utting school of massage, and Brenneke. It’s been hard, but I have finally decided that I will start school on January 16th at Brian Utting.
The fact is, it’s always been about Utting. I love it there, the people love me, it’s got a great atmosphere and they pride themselves on providing not only excellent education, but a breeding ground for personal growth, which is exactly what I am looking for in the experience. Brenneke was in the running because the schedule was a little less demanding and it was still close enough to work for me to go, but I didn’t really feel an affinity toward the place or the staff like I did with Utting.
One of the big things I had to accept in trying to decide upon schools, is that no matter where I study, aerials will fall to the wayside. I spent a lot of mental energy trying to think of a way to preserve my training schedule with bev, and for a good while I was considering settling on the school I didn’t want to enable that. Realistically, though, working full time and going to school will get busy, and the first thing that will go will be aerial training. It’s best to just accept that as part of doing this and go where I know I will enjoy my education, than to settle on where I know I won’t to try to preserve something that will have to bend anyway.
It’s been a very powerful and emotional experience deciding and commiting to doing this. Not only does it integrate seamlessly into my journey of personal growth and healing, once I am a licensed LMP I will have the freedom to work on my own terms, for myself, and be able to make all the time for myself that I want. I know I enjoy and am good at massage, the vocation is more than just a job for me – it’s a wholistic path I’ve chosen to continue to allow the greatness in me to blossom and be shared in by others.
To give you guys an idea of how my life is going to be pretty much the minute I get back from my holiday in NYC, heres a rundown of my projected schedule requirements:
Work: Monday – Friday 8:30a to 5:10p Lunches from 1-2 which will usually be Study or Massage practice time, possible ability to study during downtimes because my boss is really rad and supportive.
At School:Monday – Thursday 6:30p – 10:30p + one Saturday a month 9a – 6p. There are a few workshops and possibly extra electives if I decide to do that which will eat up weekends here and there, but for the most part this is my in-class schedule for the 18 months I will be in school.
Outside of School: 3 (possibly 4.5, not sure yet) hours of charted practice massage on friends/students per week, 1.5 hours of receiving student massage per week, 6-10 hours study/homework per week.
As you can see, Monday-Thursday is booked totally solid with work and School. This leaves Friday evenings (I will no longer have half-fridays starting 12/06) and Sundays open for practice massage, studying, and downtime. Most Saturdays will be free for aerial training in the mornings and catch up massage practice/study, and maybe a little art or something.
There is also a small gap between School and Work where I can get some cardio in at a gym or hang with Chrissy and eat dinners, but that gap will disappear when and if the school moves to the east side as is the intention of the Cortiva Insitute which newly owns both Brian Utting and Brenneke and doesn’t want them right next to each other any longer.
The possible move was a big blocking factor in my decision for a long time, until I talked with the school president and felt comfortable in their intentions not to damage the possibility of success for their current students. They are anticipating moving in Jan of 08 but it may take longer to secure the right space, I hope I hope, and it’s possible I will be able to finish out my education downtown.
The best part about all this is that I don’t have to go into any debt, my job will cover my schooling expenses. The life plan still remains the same, a few more years here with my awesome support structure and familiarity while I get my foundation set, then on to NYC. 3-5 years, I suspect.
Submitted by courtnee in public - 06.23.06 - 7:26 pm
I would like to preface this entry with a resounding “I am ok”.
The “Hail Mary” is one of those drops where you are really screwed if you miss your mark. I don’t do many drops like that because I’m much more comfortable with the kind that you’re all wrapped up and fairly safe in. Generally the worst that happens when I mess up is I chickenwing an arm or something and get a rope burn.
For those who understand, I’ll explain the drop: It’s a catchers with a single wrap on the loose leg. You then cinch up with the rope over your shoulder and position your back to the pole of the rope, holding over your head. You then grab the tail end close to your hip and undo the wrap around your leg. When you let go of your top hand, you pitch forward like in a Salto drop, and bring your top hand directly to the rope on your hip. As your body rotates the rope pops into what was your top hand, and you are in a bit of a variation of a flag.
I’m fairly new to this drop, and the last few times I’ve done it I’ve instinctually not placed my hand directly on the rope at my hip, but waited for my body go through the entire rotation to upright again and grabbed at the pole at that point, which was directly in front of me or passing to my left side. Basically there are two opportunities to catch the rope, and I was apparently partial to the later one.
Welp, I missed the rope today. My form wasn’t tight enough or something and I did not rotate directly up/down, my body pivoted to the side just enough, so when it came time to grab the rope it wasn’t as close to me as I’m used to. I caught the rope with my fingertips but was never able to grip, and only succeeded in stunting the momentum of my eventual 13-or-so foot fall to the floor.
Unlike the only other drop I’ve really fallen out of (twice, haha), my hand was not in a position to assist me on the way down. Usually, if you just hang the fuck on and prepare your shoulders, you can land upright, IME. I could take no weight and I was not able to right myself. All I could think was to try not to fall on my head, while still in a slow head-over-feet rotation that I had little control over.
When I landed I hit the crash mat on my left shoulder, then further tumbled onto my neck. The impact knocked the wind out of me but I remained conscious.
Once I was on the ground, I immediately began wiggling my toes and my fingers to ensure I hadn’t paralyzed myself and started in on my self diagnostics.. Although my brain was functioning just after I hit, externally, all I could do was let out a series of horrifying moans. It was one of the creepiest things ever. I kept thinking, jesus christ this is weird, but I can’t NOT make this noise, and I recall being glad that there were no kids in the gym at the time.
I imagine that sensation was a lot like tourettes, there was just no stopping those moans from coming. I was hot and in shock and I couldn’t feel much of the left side of my body and I knew I had fallen partially on my head and I knew how bad that could be and all I could do was twitch and moan like a retard in heat. But the entire time there was a background process of very logical evaluation going on, too, which made it even weirder. It was like I was capable of being two places at once. It was sorta like an out of body experience I guess.
So. Fucking. Weird.
Within seconds Kari, Bev and Mick were tending to me, getting me flat on my back and getting me iced and asking questions and such. After about 3 minutes I called Rob to take me to the ER to get Xrays, even though I was fairly certain that I had not broken anything. I was already trying to figure out who was going to take my place tomorrow at Critical Massive, scanning my memory for anything else I might have to take a raincheck or not do at all while I recovered, and cracking laughs about how spectacular my ability to be an utter dork really is.
I was able to sit up fairly quickly and immediately took the proper dose of ibprohpin. I was able to walk myself into the ER an hour or so later when I ride had arrived, was seen within 20 minutes, and had a bunch of nice people helping me (Swedish on First Hill pretty much rules.)
Structurally, my neck is fine, but the doctor found a compression fracture in my T-8 vertebrae a little farther down. It’s small, but compression fractures in the spine never really heal. Over time it will compress more and get worse, effect my posture and cause me problems as I age. I told him I would just add it to the long list of shit that’s going to cause me massive pain when I’m 60.
He suspects, because of how tender my spine is, that it happened as a result of this fall, but it is possible I have had it for some time, too. As far as actual spine pain goes, that area has been sensitive from time to time. There is really no way to know for sure. My body position when I landed was correct for this kind of injury, but this is certainly not the first time I’ve landed on my head.
I am disappointed that I won’t be performing tomorrow, but I am extensively relieved that this did not happen tomorrow in the grass in Mt. Vernon over a tiny little futon mattress. Rob questions my likelihood of survival under those conditions and I tend to agree.
Periodically, as an aerialist, I’ve thought about the weight of risk vs. reward with some of the drops I choose (not) to do. There are a number of drops that you simply must catch or you’re splattering on the ground, and generally I avoid them. In this case, my personal style leaned toward the more dangerous of two options, when really I should have probably forced myself to practice it the safer way until it was second nature.
There was also a very good reason, I think, that it took me nearly a year of setting up, and wussing out, to do the Hail Mary. It’s never fun to get hurt, or to see other friends get hurt doing this shit, but often I find myself thankful for my injuries and the reality checks they provide me. I get over zealous sometimes, I get cocky, and sometimes when I’m up there I stop thinking, and all of those things could be deadly.
I am extremely, ridiculously sore, and stiff, and quite tired. But I am alive, all of my limbs still work, and in good spirits. I said to Rob while in a neck brace in the ER, that a large part of getting through things like this is the health of spirit, and even if I found out my neck was broken and I was on the verge of paralyzing myself at every step, I would be ok, because I felt like I would be ok, and that was the most important thing.
I still have to drive up to Mt Vernon tomorrow to deal with the rigging for Critical Massive, but I did find someone to perform for me so I don’t have to feel like a lameass flake in addition to being too sore to wipe my own ass. Now THAT would have fucking sucked.
And let’s hear a little something for my cat-like reflexes; apparently, according to bev who saw the entire drop, I had the foresight to take my glasses off before I hit the mat. HAhahah!