Left: Our granddaughter's interpretation of Michael Jackson's Thriller. Photo and stylization courtesy of Jane Cato Studio. What you can't see is the makeup and tousled hair of her zombie princess alter ego.
Years ago, I read one of those how-to-live-a-blessed-life kind of books in which the author spoke of the time-released capsules she believes God builds into each of our lives. Sudden discoveries and realigning of circumstances had released new and unexpected creative energies in her own life. God doesn't give everything to us all at once, she wrote. He lets us discover, in His time and as we go along, the gifts He planted in us from the beginning.
I have thought about the phenomena of implanted time-released capsules often these last few years. My husband touched clay for the first time three-and-a-half years ago, and one of those extra-fast-acting time-released capsules burst open.
For me, however, the first sense I had that I could be a "real" writer came in my 20s. But circumstances didn't align themselves for me to explore that in all of its fullness until I was in my 50s -- a slower-acting capsule, as it were.
One of our responsibilities as parents, says Proverbs 22:6, is to "Train up a child in the way he (she) should go." Most people interpret that in terms of religious teaching. But it also speaks to paying attention to the individual personality, abilities, and talents each child has -- and to the times they are released in their lives.
One of our sons was assigned in seventh grade to write a computer program for a game. This was in the Commodore 64 era when we played Atari's Pong at home and kids played that newfangled game, Pac-Man, in arcades. I don't even have the vocabulary to describe the game he created, but it was intricate enough that we had to buy additional external memory to hold it all -- and even then I think he only scratched the surface of what he had in his mind. Today he's the IT guy at a Colorado ski resort -- where he can also make the most of another time-released capsule called snowboarding that exploded in his life a couple of decades later.
Another son absorbed everything he could learn about fishing and hunting from his father and from other people and from books. Beginning when he was about eight years old, he often fished the neighborhood ponds after school when the other kids rode bikes and played kickball. One day when he was 13 or so, my husband and I were visiting my parents in Spring Hill when he called to tell us he had snagged a barbed treble hook in the top of his foot while fishing from a bridge not far from our house in Seminole. My husband walked him through the process of backing the hook out, which he did successfully -- and then went back to fishing. He explored the professional fishing tournament circuit for a time before circumstances limited his time. Today he's our go-to guy when we have questions about Florida flora and fauna . . . and fish, of course.
A third son would spend days in character -- Huck Finn was a favorite, corn cob pipe and all -- and he also learned to love the physical labor of building things. His second grade teachers commented on his "showmanship" when they filmed him doing a science experiment. When he played the Jack of Hearts in a fifth-grade production of Alice in Wonderland, the advisor suggested he consider a theater program in high school. He did, but turned to building sets and running lights and sound in the technical theater program instead. Today he's the go-to guy at a major corporation, responsible for maintaining much of their physical infrastructure and equipment. And he's a backstage dad for his children.
Of course, our sons explored other interests along the way. They played baseball and soccer in the local leagues. They each learned to play more than one musical instrument -- one still plays around with music quite a bit. One has learned the art of selling. Two of them still enjoy reading books. All three are good writers, when they have a use for writing. They all learned how to cook and to use hammers and saws and wrenches and what not. Sometimes they still call their dad for a how-to walk through, but sometimes he calls them for the same.
Now our children watch their children walk in particular paths, or -- for three of our grandchildren, at least -- dance down particular paths.
Our oldest grandson was two, maybe three, when he started asking to wear my "clap shoes" when he came to visit. They were just my wear-to-the-office 1-inch heeled pumps . . . but he liked the clapping sound they made on our tiled entry way and on our concrete kitchen floor. By the time he was four, all he wanted for his birthday was a pair of tap shoes. His mom, a dancer herself and married to our theater son, enrolled him in tap lessons. From his first lessons, he exhibited an innate ability to follow the steps -- and, when he made a mistake, to correct himself back into the rhythm. Last night, I got teary-eyed watching him rat-a-tat-tat across the stage . . . and also perform a very sensitively danced lyrical number.
His brother was barely two when he memorized the score and choreography from the Wizard of Oz. He couldn't articulate the words, but the on-pitch melodies and voice inflections were there. He couldn't match all the steps, but he had the timing of Scarecrow's loose moves down pat. Before long, he followed his brother into dance classes. Last night, I lost count of the number of dances -- solos, duets, trios, group dances -- to which he had memorized the choreography and inserted his own personality.
Little sister was just four when she saw Michael Jackson's Thriller video and started teaching herself the choreography, including the moon walk. Her reaction when Michael Jackson died? "But he's still alive in Thriller." Last night, she performed a solo version (a 5-year-olds' recognizable rendition) of Thriller at the DanceMoves Studio's final program. She can turn respectable cartwheels and has a lovely toe point.
Their parents have poured lots of time and money into helping their children follow these paths to date. What does the future hold? None of us know. They could wow them on Broadway or a different time-released capsule could take them down new and unrelated paths. For now they have learned the disciplines of working hard at something, of working consistently at something, and of sharing what they have learned with others. I suspect they have learned to walk hard, walk long, walk joyfully in whatever way they find themselves down the road.
Everything else is icing on the proverbial cake.
Showing posts with label grandkids. Show all posts
Showing posts with label grandkids. Show all posts
Tuesday, June 22, 2010
Tuesday, May 11, 2010
Making a Joyful Noise! In Memoriam Interlude: 5 . . . 6 . . . 5-6-7-8
Susan Hartley in Ireland, 2005.
Not everyone sings with the voicebox. Not everyone makes melody with the mouth.
Susan Hartley made a joyful noise with her feet. Tap-e-ta, tap-e-ta, shuffle ball change, shuffle ball change, jump down, jump down, jump down, stomp! Only a whole lot faster and a whole lot more intricate.
She must have been something when she was younger. Her bio says she started dancing when she was five, and was a demonstrator for Paul Draper in his New York studio by the time she was 12. When she was 15, she was part of a group of precision acrobats called The Hurricane.
Tap, jazz, acrobatics, ballet -- Susan danced it all on concert hall and theater stages from Atlantic City, New Jersey, to Pittsburgh, Pennsylvania.
And she shared what she knew. In 1988, Susan opened Dancemoves Studio in Seminole, Florida, where she taught countless girls and boys how to cartwheel, arabesque, and Shuffle Off to Buffalo.
Nine years ago, give or take a few months, I watched Susan take my then somewhat hesitant four-year-old grandson by the hand, lead him to the center of her studio dance floor, and walk him through a series of tap steps.
Brush forward, brush back, step. Brush, brush, step. Fl-ap, heel; fl-ap heel. Fl-ap, fl-ap, fl-ap, flap.
Week after week, month after month, year after year. Tap, jazz, ballet, lyrical, hip hop, acrobatics. First one grandson, then another, then a cousin, then a granddaughter.
It was all about developing that innate itch that makes us sway, swing, and step to music. It wasn't about perfection. It was about the kind of professionalism that drives you to keep practicing until it's as perfect as you can make it. It was about the kind of professionalism that keeps the show moving regardless of what faux pas has just occurred onstage.
Miss Susan didn't go over and over and over a step. She expected her students to watch closely and remember complex combinations almost instantly. She expected daily practice between lessons. That was part of the training. Broadway directors would be culling wannabe's who needed coddling from professional dancers who had the mental acuity as well as the physical agility to handle two-hour's worth of demanding choreography.
There was no undeserved praise awarded and no slack given. Little miss in a huff off in a corner? Pick her up, bring her back into the circle, and tell her to save the hissy fit for later. Shut the door, shut out the distractions, and carry on.
Knowing that one teacher is never sufficient, she brought in Lane Napper and other professionals from the Broadway Dance Center and other studios to conduct master classes in dance, voice, and theater. Her daughter, Elizabeth, joined her in the studio teaching musical theater and voice. She took her students to New York, Ireland, Miami, and as many places as their parents were willing to let the children go. She taught them how to conduct themselves in an audition, how to occupy themselves when it was someone else's turn to practice, how to overcome the fear of doing a round off, how to be generous with each other.
One student ended up with a part in a Nickelodeon TV show because of the connections Hartley helped her make.
Her choreography reflected Draper's melding of ballet and tap and her own acrobatic and ensemble training. Her studio boasted the only precision lines (think Rockettes kick lines) in Pinellas County.
It can be hard on kids when their mother works with other kids. Especially when you don't quite fit in to her world, their world. That's not an excuse. It's also hard when you know you're not quite the mother your child either needs or would like to have. Either way, there are choices to be made. Choices to let go of unrealistic expectations, to accept what is and not what we wish was, and to find the perfect path our Creator has prepared for us -- and no one else -- to walk in.
Susan's son struggled with that. Susan struggled with it, too. Maybe no one knew how much until it was too late. Ultimately it cost both of them -- and all of us -- big time.
There are no guarantees of how many days we each have in this world. Or of how we will pass from this world into the next.
All we have is today. How we choose to live today is what matters for today . . . and, oddly, for tomorrow, too. Today we can choose anger and bitterness over what we perceive as unfair. We can choose to sit in a huff in the corner because the music isn't to our liking.
Or we can choose to get up and make a joyful noise to the music that is playing -- one that echoes through eternity.
With our mouths.
Or with our feet.
Labels:
Broadway Dance Center,
children,
dance,
grandkids,
Lane Napper,
Paul Draper,
Susan Hartley
Saturday, February 20, 2010
Did You Try the Door? Like . . . duh!
My 13-year-old grandson and I sit in my van in front of his dance studio this past Thursday waiting for his teacher to arrive.
His lesson begins at 4 p.m. and -- miracle of miracles, as they sing in Fiddler on the Roof -- we're a tad early. Usually his teacher is at the studio before we arrive. The last couple of weeks, however, she has pulled up a minute or two after us.
Today, her van isn't in front of the studio. So we continue our discussion of Lord of the Flies, which he has just finished reading, and the fourth (?) Harry Potter book, which he is currently reading.
Periodically, I check the time on my cell phone.
"Do you think the class time was changed?" I ask around 4:11. Occasionally the 4 o'clock class is canceled, and he doesn't have to be there until 4:30. "Should we call your mom to see if your teacher called?"
Around 4:20 I call my daughter-in-law and explain that the teacher apparently hasn't arrived and had there been any message about the class time changing?
"Did you try the door?" she asks.
"Her van isn't here," I answer, motioning my grandson to go check the door.
Tactful person that she is, she doesn't come back with what I would have said to her husband or his brothers not so many years ago. Namely, "Is that what I asked? Did I ask if her van was there? Answer me! What did I ask?!"
[Truth to tell, however, she might have used the same teaching tactics I used to use if it were her son placing the call! :-) ]
Instead, she merely says maybe the teacher's son dropped her off at the studio and that perhaps we should try the door. Which my grandson does and which, of course, is unlocked and just waiting for him to pull on the handle.
Like . . . duh!
How many times do we assume a door is closed to us without ever even pulling on the handle? Worse, how much time do we spend sitting in front of doors we assume are closed, locked, barred to us . . . without ever pulling on the handle?
Like . . . duh!
His lesson begins at 4 p.m. and -- miracle of miracles, as they sing in Fiddler on the Roof -- we're a tad early. Usually his teacher is at the studio before we arrive. The last couple of weeks, however, she has pulled up a minute or two after us.
Today, her van isn't in front of the studio. So we continue our discussion of Lord of the Flies, which he has just finished reading, and the fourth (?) Harry Potter book, which he is currently reading.
Periodically, I check the time on my cell phone.
"Do you think the class time was changed?" I ask around 4:11. Occasionally the 4 o'clock class is canceled, and he doesn't have to be there until 4:30. "Should we call your mom to see if your teacher called?"
Around 4:20 I call my daughter-in-law and explain that the teacher apparently hasn't arrived and had there been any message about the class time changing?
"Did you try the door?" she asks.
"Her van isn't here," I answer, motioning my grandson to go check the door.
Tactful person that she is, she doesn't come back with what I would have said to her husband or his brothers not so many years ago. Namely, "Is that what I asked? Did I ask if her van was there? Answer me! What did I ask?!"
[Truth to tell, however, she might have used the same teaching tactics I used to use if it were her son placing the call! :-) ]
Instead, she merely says maybe the teacher's son dropped her off at the studio and that perhaps we should try the door. Which my grandson does and which, of course, is unlocked and just waiting for him to pull on the handle.
Like . . . duh!
How many times do we assume a door is closed to us without ever even pulling on the handle? Worse, how much time do we spend sitting in front of doors we assume are closed, locked, barred to us . . . without ever pulling on the handle?
Like . . . duh!
Saturday, December 19, 2009
Mountain Mellow Thankful
Left: Loved this sticker plastered to the wall of a BBQ place in Asheville, NC. Check out Hebrews 11:13-16! (This is not a product endorsement--although I like their Web site and they may have a really great product. But I'm not a customer).Decisions, decisions. Do I play catch-up with dated postings? Or do I leave vast chunks of my life unreported to my faithful readers and unrecorded for posterity?
Hmmm . . . oh, why not.
This last week of 2009 should be about tying up loose ends, right? Any left untied and that come unraveled after January 1st will leave interesting holes in the pattern.
Meantime, my last posting concerned our pre-Thanksgiving Circus of the Arts Pen Women conference in Sarasota.
We struck the circus tents around noon on Sunday, packed up and vacated the hotel premises. From Sarasota to Safety Harbor is about an hour's drive, and I arrived home at 2 p.m. to find Lee packed and waiting for me to unload the van, repack the bags, load up the other van, and head out. Which we did at 3 p.m. -- how's that for a quick transition?!
This time our destination was North Carolina and a week of mountain mellow with Lee's brother and sister-in-law. And Banjo. Can't forget their lovable Labradoodle.


Above: Dave and Lee enjoy a moment of brotherly bonding over a plate of BBQ.
(Mmmmm -- except we thought Dave liked BBQ and he was being polite. What a good brother.)
(Mmmmm -- except we thought Dave liked BBQ and he was being polite. What a good brother.)
So what am I thankful for this season, this year? I'll let some pictures speak for me.
Left: Sign near Grandfather Mountain in NC.Sons, daughters-in-law, and grandchildren who enrich my life in so many ways. Who can resist melting a bit when the eyes of a three-year-old light up in wonder when he puts a "CD" in a Sesame Street player, pushes a button, and hears music playing. This is the same grandson who played "have you heard this song before" all the way home from a Rays game -- and actually listened to each song I sang before answering 'yes' or 'no.'
And have you ever heard a five-year-old princess with the giggles? Or played clapping games with a nine-year-old? Or watched a thirteen-year-old play Ninja air hockey? 'Nuff said.


The beauties
of the earth above and below ground . . .
Left: Formations in Linville Caverns, NC
Right: Fall foilage in Asheville, NC
. . . and for the ones that come to earth from above.
Below: Fat, fluffy flakes of snow began falling just as we finished Thanksgiving dinner.

Lee's continuing forays into the world of clay. Highlights of our trip to NC were visiting Highwater Clays in Asheville and attending a kiln opening outside of Boone. Read more about each of these adventures at Lee's blog, Formed & Fired Creations in Clay.

Left: Nancy's daughter-in-law, Shelley, and I put this puzzle together over Thanksgiving. One of the best designed puzzles I've done in a long time -- odd fittings and shapes. Not that I've had much time for puzzles lately, which made it doubly enjoyable. Time to play . . .
. . . and time to reconnect with forever friends.
Right: We had lunch with Sandy Houser, a friend from our first days in Florida, and her brother Tom before heading home to Florida.
Labels:
friends,
grandkids,
kids,
North Carolina,
Thanksgiving
Thursday, April 16, 2009
All the World's a Stage
. . . and all the men and women merely players: They have their exits and their entrances; and one man in his lifetime plays many parts." Shakespeare, As You Like It, Act II Scene 7
La-a-dies and gentlemen! This Saturday, I direct your attention to Stage Right, aka R. E. Olds Park's Art-in-the-Park in Oldsmar, Fla., where, at 10 a.m. renowned Safety Harbor ceramic artist Lee Anderson presents Formed and Fired, a display of vessels from his prize-winning Pegasus and Therapeutic Pot Smoking series. Also appearing at Art-in-the-Park will be Safety Harbor writer Anne W. Anderson and her NLAPW cohorts displaying their artistic wares and reading selections from their published writings.
On Center Stage at 1:45 p.m., we present Christian and his Red Sox teammates battling the White Sox at the North Brandon Little League Field. Little brother Jackson leads the cheering from the sidelines, while parents Brian and Kristina keep things moving backstage . . . a stage within a stage, as it were.
At 3:30 p.m. on Stage Right, it's Tyler, Caleb, Raelin, and Devon with their Dancemoves friends tapping, jiving, and hip-hopping, by invitation, at the Festival of States' FamilyFest in St. Petersburg's North Straub Park, all under the watchful eyes of parents Jeremy and Jessica.
But wait! There's more!
On stage at Ruth Eckerd Hall this Sunday at 3 p.m. the 100-voice Clearwater Chorus, including alto Anne Anderson, presents Carmen to Candide: A Treasury of Musical Favorites from Opera to Broadway Musicals. It's gonna be GREAT!
Whatever stage you find yourself on this weekend, may your performance be heartfelt and full of joy.
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