Stats: Today, my coworker and I served more than 500 drip coffees in 6 hours. Including espresso drinks, this means we saw more than 100 faces per hour. That's a lot of faces! That's more than 100 "Hello how are you"'s per hour. That's about 50 "Happy Groundhog Day"'s per hour and 25 mentions of Bill Murray per hour. You're welcome, Bill Murray. And Happy Groundhog Day, everyone.
The irony: Today, I feel like retreating from humanity. Sometimes, it seems there is entirely too much cattiness and judgmental attitudes in every corner of my world, and it makes me want to eschew humanity. Yet, today I have also encountered kindness, funniness, and empathy from many (many!) folks, and these positive encounters are usually enough to draw me back into the fold. However today, I am feeling rather misanthropic. On the other hand, I had some really beautiful encounters...I go back and forth. The past few days have been tough on my psyche...I feel bruised and battered-- yet healing-- yet still sensitive.
The past two days have been unnaturally beautiful. The sudden spring air in the midst of winter has awakened my spirit, which feels like it has been in hibernation for many months. I brought my camera out of hibernation and followed the light. Beautiful flowers, beautiful building walls, beautiful streets and beautiful throngs of people and the homeless...one of my favorite streets in Philadelphia is along Juniper, between Sansom and Chestnut Streets: old walls that attest to a more refined, ornate past; on the wall upon entering, a poignant quotation by some philosopher or another about how knowing that there is an end is what gives the present its meaning. At the end of the walk, upon the sewer giving off heat lies a homeless man wrapped up in his anorak. I see him in this very spot every single morning that I walk through this alley on the way to work. He has made himself a home-- that is, if "home" is defined by the place where you sleep every night. He has become a meaningful node in my line of vision-- something that I look for as I wend my way through the streets of Philadelphia in the twilight hour.
Yesterday evening, I gave myself a ballet class in a glass-enclosed space in the exact middle of the city; that is to say, at the cafe. This is one of the most magical, spiritual experience that I can offer to myself in the city. During the day, it is the place where I make money; it is alive with people and lights and conversation and coffee. But at night, after around 7:30pm, I unlock the glass door and let myself into a shadowy haven that is both secret and utterly revealing. I turn on two lights-- the track lights hanging over the large family table and the one in the back kitchen. The bathroom is my dressing room. After I change, I plug in my ipod; slow adagio music fills the air. I begin by facing the burr grinders filled with Nizza and Haitian beans. Slow tendus, the way I was taught during my 12 days in Russia. To this day, I still hear Ilya's slow, methodical counts: Raz, dva, tri, chetyre; raz, dva, tri, chetyre; raz, dva, tri, chetyre; plie...
From there, I sink into plies and the rest of the essential barre exercises, then center work. I use my reflection in the glass to correct my form. Outside, groups of people walk by. A few peer in; most pass by unaware of any activity on the other side of the glass. Cars whizz by around the bend; lights shine from the cars, street lamps, and surrounding office buildings; voices carry past the glass. I ponder briefly the things we would discover should all walls be made with transparent glass. What goes on behind those walls? Here, at the cafe, my activity is made utterly transparent. It is full of dichotomy: I feel naked, yet hidden; amongst people, yet alone. I am surrounded by people, yet I feel sheltered by the glass the keeps me at an impenetrable distance from them, no matter how transparent they may be. For those who catch sight of movement and peer in for a closer look, I welcome them into the world of ballet as I see it, as I love it: the repetition, the rigor, the sweat, the discipline-- the ritual of ballet class.
The irony: Today, I feel like retreating from humanity. Sometimes, it seems there is entirely too much cattiness and judgmental attitudes in every corner of my world, and it makes me want to eschew humanity. Yet, today I have also encountered kindness, funniness, and empathy from many (many!) folks, and these positive encounters are usually enough to draw me back into the fold. However today, I am feeling rather misanthropic. On the other hand, I had some really beautiful encounters...I go back and forth. The past few days have been tough on my psyche...I feel bruised and battered-- yet healing-- yet still sensitive.
The past two days have been unnaturally beautiful. The sudden spring air in the midst of winter has awakened my spirit, which feels like it has been in hibernation for many months. I brought my camera out of hibernation and followed the light. Beautiful flowers, beautiful building walls, beautiful streets and beautiful throngs of people and the homeless...one of my favorite streets in Philadelphia is along Juniper, between Sansom and Chestnut Streets: old walls that attest to a more refined, ornate past; on the wall upon entering, a poignant quotation by some philosopher or another about how knowing that there is an end is what gives the present its meaning. At the end of the walk, upon the sewer giving off heat lies a homeless man wrapped up in his anorak. I see him in this very spot every single morning that I walk through this alley on the way to work. He has made himself a home-- that is, if "home" is defined by the place where you sleep every night. He has become a meaningful node in my line of vision-- something that I look for as I wend my way through the streets of Philadelphia in the twilight hour.
Yesterday evening, I gave myself a ballet class in a glass-enclosed space in the exact middle of the city; that is to say, at the cafe. This is one of the most magical, spiritual experience that I can offer to myself in the city. During the day, it is the place where I make money; it is alive with people and lights and conversation and coffee. But at night, after around 7:30pm, I unlock the glass door and let myself into a shadowy haven that is both secret and utterly revealing. I turn on two lights-- the track lights hanging over the large family table and the one in the back kitchen. The bathroom is my dressing room. After I change, I plug in my ipod; slow adagio music fills the air. I begin by facing the burr grinders filled with Nizza and Haitian beans. Slow tendus, the way I was taught during my 12 days in Russia. To this day, I still hear Ilya's slow, methodical counts: Raz, dva, tri, chetyre; raz, dva, tri, chetyre; raz, dva, tri, chetyre; plie...
From there, I sink into plies and the rest of the essential barre exercises, then center work. I use my reflection in the glass to correct my form. Outside, groups of people walk by. A few peer in; most pass by unaware of any activity on the other side of the glass. Cars whizz by around the bend; lights shine from the cars, street lamps, and surrounding office buildings; voices carry past the glass. I ponder briefly the things we would discover should all walls be made with transparent glass. What goes on behind those walls? Here, at the cafe, my activity is made utterly transparent. It is full of dichotomy: I feel naked, yet hidden; amongst people, yet alone. I am surrounded by people, yet I feel sheltered by the glass the keeps me at an impenetrable distance from them, no matter how transparent they may be. For those who catch sight of movement and peer in for a closer look, I welcome them into the world of ballet as I see it, as I love it: the repetition, the rigor, the sweat, the discipline-- the ritual of ballet class.
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