#techniques de communication

[bechirhouman]

Comment se comporter avec une personne qui dénigre systématiquement les autres ?

Dénigrement Le dénigrement systématique est une attitude toxique que l’on peut rencontrer dans différents contextes : au travail, en famille, ou encore parmi ses amis. Ces personnes critiquent sans relâche les autres, minimisent leurs succès et mettent en avant leurs défauts. Cela peut être pesant, frustrant et même nuisible à notre bien-être. Mais pourquoi certaines personnes adoptent-elles ce…

[a-modernmajorgeneral]

At the 1937 International Exposition in Paris, two colossal pavilions faced each other down. One was Hitler’s Germany, crowned with a Nazi eagle. The other was Stalin’s Soviet Union, crowned with a statue of a worker and a peasant holding hands. It was a symbolic clash at a moment when right and left were fighting to the death in Spain. But somewhere inside the Soviet pavilion, among all the socialist realism, were drawings of fabulous beasts and flowers filled with a raw folkloric magic. They subverted the age of the dictators with nothing less than a triumph of the human imagination over terror and mass death.

These sublime creations were the work of a Ukrainian artist, Maria Prymachenko, who has once again become a symbol of survival in the midst of a dictator’s war. Prymachenko, who died in 1997, is the best-loved artist of the besieged country, a national symbol whose work has appeared on its postage stamps, and her likeness on its money. Ukrainian astronomer Klim Churyumov even named a planet after her.

When the Museum of Local History in Ivankiv caught fire under Russian bombardment, a Ukrainian man risked his life to rescue 25 works by her. But Prymachenko’s entire life’s work is now under much greater threat. As Kyiv endures heavy attacks, 650 paintings and drawings by the artist held in the National Folk Decorative Art Museum are at risk, along with everything and everyone in the capital.

‘A murderous intruder in Eden’ … another of Prymachenko’s grotesque creatures. Photograph: Prymachenko Foundation

It’s said that, when some of Prymachenko’s paintings were shown in Paris in 1937, her brilliance was hailed by Picasso, who said: “I bow down before the artistic miracle of this brilliant Ukrainian.” It would make artistic sense. For this young peasant, who never had a lesson in her life, was unleashing monsters and collating fables that chimed with the work of Picasso, and his friends the surrealists. While the dictatorships duked it out architecturally at that International Exhibition, Picasso unveiled Guernica at the Spanish pavilion, using the imagery of the bullfight to capture war’s horrors. Prymachenko, too, dredged up primal myths to tackle the terrifying experiences of Ukrainians.

Her pictures from the 1930s are savage slices of farmyard vitality. In one of them, a beautiful peacock-like bird with yellow body and blue wings perches on the back of a brown, crawling creature and regurgitates food into its mouth. Why is the glorious bird feeding this flightless monster? Is it an act of mercy – or a product of grotesque delusion? In another drawing, an equally colourful bird appears to have its own young in its mouth. Carrying it tenderly, you might think, but only if you know nothing of the history of Ukraine.

At first sight, Prymachenko might seem just colourful, decorative and “naive”, a folkloric artist with a strong sense of pattern. Certainly, her later post-1945 works are brighter, more formal and relaxing. But there is a much darker undertow to her earlier creations. For Prymachenko became an artist in the decade when Stalin set out to destroy Ukraine’s peasants. Rural people starved to death in their millions in the famine he consciously inflicted on Soviet Ukraine from 1932 to 1933.

Had she been an ‘intellectual’, she could have ended up in a gulag or worse …Prymachenko.

Initially, food supplies failed because of the sudden, ruthless attempt to “collectivise” agriculture. Peasants were no longer allowed to farm for themselves but were made to join collectives in a draconian policy that was meant to provide food for a new urban proletariat. Ukraine was, and is, a great grain-growing country but the shock of collectivisation threw agriculture into chaos. The Holodomor, as this terror-famine is now called, is widely seen as genocide: Stalin knew what was happening and yet doubled down, denying relief, having peasants arrested or worse if they begged in cities or sought state aid. In a chilling presage of Putin’s own logic and arguments, this cruelty was driven by the ludicrous notion that the hungry were in fact Ukrainian nationalists trying to undermine Soviet rule.

“It seems reasonable,” writes historian Timothy Snyder in his indispensable book Bloodlands, “to propose a figure of approximately 3.3 million deaths by starvation and hunger-related disease in Soviet Ukraine in 1932-1933”. These were not pretty deaths and they took place all around Prymachenko in her village of Bolotnya. Some people were driven to cannibalism before they died. The corpses of the starved in turn became food.

Born in 1908, Prymachenko was in her early 20s when she witnessed this vision of hell on Earth – and survived it to become an artist. But the fear did not end when the famine did. Just as her work was sent to Paris in 1937, Stalin’s Great Terror was raging. It is often pictured as a butchery of urban intellectuals and politicians – but it came to the Ukrainian countryside, too.

So it would take a very complacent eye not to see the disturbing side of Prymachenko’s early art. The bird in its parent’s mouth, the peacock feeding a brute. Maybe there is also survivor guilt, and a feeling of alienation from a destroyed habitat, in such images of strange misbegotten creatures lost in a nature they can’t work and don’t comprehend. One of her fantastic beasts appears blind, its toothy mouth open in a sad lamentation, as it stumbles through a garden on four numbed clodhopping feet. A serpent and a many-headed hydra also appear among the flowers, like deceptively beautiful, yet murderous intruders in Eden. In another of these mid-1930s works, a glorious bird rears back in fear as a smaller one perches on its breast, beak open.

There’s nothing decorative or reassuring about the images that got this brave artist noticed. Far from innocently reviving traditional folk art, her lonely or murderous monsters exist in a nature poisoned by violence. Yet she got away with it – and was even officially promoted right in the middle of Stalin’s Terror, when millions were being killed on the merest suspicion of independent thought. Perhaps this was because even paranoid Stalinists didn’t think a peasant woman posed a threat.

Her spirit survives … a rally for peace in San Francisco, recreating a work by Prymachenko called A Dove Has Spread Her Wings and Asks for Peace. Photograph: John G Mabanglo/EPA

Prymachenko remembered that, as a child, she was one day tending animals when she “began to draw real and imaginary flowers with a stick on the sand”. It’s an image that recurs in folk art – this was also how the great medieval painter Giotto started. But it was Prymachenko’s embroidery, a skill passed on by her mother, that first got her noticed and invited to participate in an art workshop in Kyiv. Such origins would inevitably have meant being patronisingly classed by the Soviet system as a peasant artist. An “intellectual” who produced such work could have ended up in the gulag or worse.

Yet, to see the sheer miracle of her achievement, you must also set Prymachenko in her time as well as her place. The Soviet Union in the 1930s was relentlessly crushing imagination as Stalin imposed absolute conformity. The Ukrainian writer Mikhail Bulgakov couldn’t get his surreal fantasies published, even though, in a tyrannical whim, Stalin read them himself and spared the writer’s life. But the apparent rustic naivety of Prymackenko’s work let her create mysterious, insidiously macabre art that had more in common with surrealism than socialist realism.

Then, incredibly, life in Ukraine got worse. Prymachenko had found images to answer famine but she fell silent in the second world war, when Hitler’s invasion of the Soviet Union made Ukraine one of the first places Jews were murdered en masse. In September 1941, 33,771 Kyiv Jews were shot and their bodies tossed into a ravine outside their city. Prymachenko was working on a collective farm and had no colours to paint.

In the 1960s, she was the subject of a liberating revival, her folk designs helping to seed a new Ukrainian consciousness. There’s an almost hippy quality to her 60s art. You can see how it appealed to a younger audience, keen to reconnect with their Ukrainian identity.

The country has other artists to be proud of, not least Kazimir Malevich, a titan of the avant garde famous for Black Square, the first time a painting wasn’t a painting of something. Yet you can see why Prymachenko is so loved. Her art, with its rustic roots, expresses the hope and pride of a nation. But the past she evokes is no innocent age of happy rural harmony. What she would make of Putin’s terror one can only guess and fear.

[kachmedcom]

Apprenez à gérer votre stress efficacement .

Le stress est une réalité de la vie moderne. Il peut être causé par de nombreux facteurs, tels que le travail, la famille, les finances, ou encore la santé. Le stress peut avoir un impact négatif sur notre santé physique et mentale, et peut nous empêcher de vivre pleinement notre vie. Mais il existe des solutions pour gérer le stress efficacement. La formation "Gérer son stress au quotidien comme un pro" vous donne les outils et les techniques nécessaires pour maîtriser votre stress et vivre une vie plus saine et heureuse. Inscrivez-vous, et réservez votre accès !

[flashbic]

J'ai perdu le contrôle : une BD de 5 pages est en cours de route. Anyways, un WIP de la toute première case, où on a l'occasion de visiter la chambre du Lorrain...

[amourrencontreseduction]

Comment Accéder au Monde de l'Invisible : Un Guide Spirituel

L’idée d’accéder au monde de l’invisible fascine de nombreuses personnes. Ce royaume mystérieux, souvent associé à l’énergie, aux âmes et à la spiritualité, semble hors de portée pour le commun des mortels. Pourtant, avec une approche adéquate et une intention sincère, il est possible d’établir une connexion avec ces dimensions subtiles. Dans cet article, nous vous offrons un guide complet pour…

[psychologie24]

Comment améliorer sa communication pour des relations plus saines ?

Comment améliorer sa communication pour des relations plus saines ? Cet article explore diverses stratégies pour améliorer notre communication afin de promouvoir des relations plus saines et plus épanouissantes.

Introduction La communication est la pierre angulaire de toutes les relations humaines. Que ce soit dans le cadre professionnel, familial, ou amical, la manière dont nous communiquons influence directement la qualité de nos interactions et de nos relations. Cet article explore diverses stratégies pour améliorer notre communication afin de promouvoir des relations plus saines et plus…

[petermot]

Bureau de Traduction Motte - 8

Embrasser la Complexité avec Expertise La gamme diversifiée de textes techniques que le Bureau de Traduction Motte gère exige plus qu’une simple compétence linguistique – elle demande une compréhension approfondie des industries concernées. L’engagement du Bureau de Traduction Motte envers l’excellence est évident dans sa capacité à embrasser la complexité de la traduction technique à travers…

[idiopathicsmile]

you know what really grinds my gears?

okay, bear with me: so as you may know, harry houdini and arthur conan doyle were friends, at least for a while.

by the early 1920s, both arthur conan doyle and acd's wife jean, aka lady doyle, believed whole-heartedly in spiritualism, talking to ghosts and all of that. (sidenote: this was of course right on the heels of a devastating world war and a devastating pandemic, both of which had created a huge population of grieving people, so spiritualism was having a moment.)

lady doyle sincerely thought she had the ability to go into a trance state and pass along messages in writing from the dead. she offered to do this for houdini. houdini agreed.

lady doyle attempted to channel houdini's late mother. she basically drew a cross at the top of the paper and filled it with generic platitudes addressed to "harry." houdini's mom was jewish and didn't talk like that, so houdini knew the jig was up, even if lady doyle didn't. but not wanting to make the situation awkward, he kind of went along with it to their faces.

then acd decided to publish a glowing account of the seance, and since both he and houdini were super famous, it got a lot of attention, and letters started pouring in for houdini, asking if this was true. ultimately, houdini couldn't lie about it. so he essentially said, like, "yeah, i think lady doyle THINKS she can talk to ghosts but she absolutely can't." and it ruined his friendship with acd forever.

and then of course a lot of the people running seances weren't even well-intentioned like lady doyle, they were just simple charlatans taking advantage of traumatized people mourning loved ones. in houdini's youth, he and his wife had traveled the carnival circuit where he did an act pretending to commune with spirits, so he knew all the tricks of the trade AND he had lingering guilt over having done this, AND he was infuriated by this increasingly popular wave of con artists so he decided to assemble a team of anti-grifting grifters and together they went on the road exposing whichever spiritualists were preying on the locals.

houdini's best agent was a young woman named rose mackenberg, who donned disguises to visit the fraud de jour and then importantly sussed out what non-supernatural thing was actually happening, and then houdini would demonstrate the techniques onstage to packed audiences.

(if you want to know more, check out episode 175, "ghost racket crusade" of the podcast Criminal or read Tony Wolf's book The Real-Life Ghostbusting Adventures of Rose Mackenberg.)

but yeah, what really gets my goat is that all this happened and as far as i know, we still don't have like four seasons of a Leverage-style historical procedural about rose mackenberg and the rest of the crew having adventures in the 1920s as they unmask craven hucksters all over the united states. (what we do have, apparently, is one season of a show called "houdini and doyle" which is about the oddball friendship of two contrasting men solving sometimes-actually-supernatural mysteries, and whose premise does i think at the very least a real disservice to houdini's whole quest and also totally erases rose, who is arguably the most interesting part of this story to me.)

i am just steamed about this. steamed.

[chaotictomtom]

même si j'ai pas pu faire mon injec samedi jviens de prendre Monthly Selfie pour mon hrt journey et woah je découvre le miracle de la génétique encore à ce jour parce que i do see a little air de ressemblance avec mon grand frère 🧍 je lui ressemblait déjà niveau comportement là avec les cheveux moins court bah 🧍🧍🧍🧍huh.

[kemetic-dreams]

Repost from @moyoafrika

•

#repost• @whatsculture History Class: Tracing the roots of Capoeira. The Afro-Brazilian martial art form incorporates acrobatics, dance, folklore, and music. Two opponents play each other inside a circle (Roda) formed by the other players, who create rhythm for the game by clapping, singing, and playing traditional instruments. It’s the second most popular sport in Brazil and is practiced in different parts of the world today. To understand the significance, we look at how it is a phenomenon born out of migration.

“Capoeira was conceived in Africa and born in Brazil,’’ Mestre Jelon Vieira once said. As a colony of the Portuguese Crown, millions of Africans were shipped and sold in Brazil. There, enslaved Africans shared their cultural traditions, including dances, rituals, and fighting techniques, which eventually evolved into capoeira. Many elements and traditions that would inform capoeira are said to have originated in Angola. At that time, 80% of all enslaved Africans in Rio de Janeiro came from Central West Africa from countries that are now known as Gabon, Angola and both Congos.

People from Angola were prominent among the enslaved Africans who played the game on the streets and squares of Rio de Janeiro, Salvador and other Brazilian port cities at the beginning of the nineteenth century. With many enslaved Africans revolting against slavery, they would soon form communities in villages called quilombos in which they could sustain different expressions of African culture. They used capoeira to defend themselves and resist capture, disguising its martial intent with music, song, and dance.

Capoeira became illegal after the abolition of slavery in 1888. Practitioners were socially ostracised for more 40 years, until the legendary capoeira master, Mestre Bimba, opened the first capoeira school in Bahia in 1932. From there, the martial art would reach all parts of the world. At its core, capoeira is born out of a mix of African and Brazilian indigenous cultures and it represents resistance and resilience 🇧🇷🌍

#moyoafrika #brazil #angola🇦🇴 #africanculture #africanculture #africandiaspora #african

[literaryvein-reblogs]

A Guide to Descriptive Writing

Descriptive writing makes reading a more visual experience.

Utilize descriptive writing, to show not tell your story to readers.

However, it is important to note that if passages of descriptive writing are too long or too complex, they will slow your story down.

Alternatively, the story's development and readability fall flat if you do not use a variety of types of words.

Take time to choose your words carefully, expand your vocabulary, and practice descriptive writing.

Below are some tips that may improve your descriptive writing.

Try Using Metaphors

Metaphors compare one thing to another.

Utilizing this technique is not saying the objects you’re comparing are the same, but that your audience can note shared traits between the two.

Example: Jordan is a living map.

Explanation: Of course, Jordan is not literally a living map. What the map and Jordan have in common is geographical information and the ability to help others navigate locations without getting lost. What the writer has done here is demonstrate to readers that Jordan has an excellent sense of direction.

Play with Similes

Similes also compare one object to another but discuss one thing as being like another.

You will often find words such as “like,” “so,” “than,” or “as” used in similes.

Example: Diego soars across the soccer field like a jet.

Explanation: Again, this is not a literal statement. The author shows us that Diego is a fast runner and creates a vivid image in the reader's mind that would not have been present if they had simply stated that Diego is fast.

Make a Statement with Hyperboles

Hyperboles are exaggerated statements.

They are used to make a point.

Example: Math class lasts a million hours.

Explanation: Your readers will know there is no way a class can realistically last a million hours, but they will understand the feeling of time dragging on when you’re doing something you do not enjoy.

Use Sensory Details

Adding sensory details is a great way to help your reader experience your story.

Depending on the character and story, sensory details may include sight, hearing, touch, smell, and taste.

Be careful not to overload passages with sensory information.

Only use what is needed to communicate with the audience.

Example: Cold, wet glue dripped from the bottle onto her fingers; the tangy, chemical smell flooded her nose. She rubbed it between her thumb and long finger, relishing the transition from silky gliding fingers to tacky digits to peeling the cast of her fingerprint away from her skin with the satisfying crinkle of crisp paste.

Explanation: In this description of glue on skin, readers encounter details of touch and smell. Although this scene is not happening to readers at this moment, they can easily recall the smell of glue and the feeling of it between their fingers.

Choose Vivid Language

Choosing vivid language can form a clearer image in your reader’s mind.

For instance, you may select words that more accurately convey what you’re aiming to communicate, whether you are simply searching for a synonym to vary language or trying to locate a word with a more nuanced meaning.

Example: “The knight entered the kingdom on the back of a horse.” vs. “The knight stormed into the kingdom on the back of a mighty stallion.”

Explanation: Having a knight storm in on a stallion rather than enter on a horse is a much stronger, more heroic image. Additionally, stallion may be a better word choice than horse because it is specific. The word stallion tells the reader the horse is male and could be used for breeding, which, since this is a knight’s horse, could be relevant since it could be used to breed warhorses.

Incorporate Feelings

Crafting a visual experience for readers marks successful descriptive writing, but you also want your readers to experience your work emotionally.

For your story to reach its full potential, you need to incorporate feelings, whether those feelings are positive or negative.

Example: Desiree felt the weight of the empty space in bed pressing down and stealing her breath like a knee to the chest. She was cemented in place, limbs unfeeling, as she floated above the bed tethered to her body but no longer secure within.

Explanation: Here, the author shows the readers a woman dealing with the pain of grief and the hollowness that sometimes accompanies it. Most readers have experienced some level of loss in their lifetime and will understand and emotionally connect with Desiree.

Source ⚜ Descriptors ⚜ Common Metaphors ⚜ Mixed Metaphors Plot ⚜ Character ⚜ Worldbuilding ⚜ Imagery ⚜ Notes ⚜ Writing Sounds

[reasonsforhope]

"The transformation of ancestral lands into intensive monoculture plantations has led to the destruction of Guatemala’s native forests and traditional practices, as well as loss of livelihoods and damage to local health and the environment.

A network of more than 40 Indigenous and local communities and farmer associations are developing agroecology schools across the country to promote the recovery of ancestral practices, educate communities on agroecology and teach them how to build their own local economies.

Based on the traditional “campesino a campesino” (from farmer to farmer) method, the organization says it has improved the livelihoods of 33,000 families who use only organic farming techniques and collectively protect 74,000 hectares (182,858 acres) of forest across Guatemala.

Every Friday at 7:30 a.m., María Isabel Aguilar sells her organic produce in an artisanal market in Totonicapán, a city located in the western highlands of Guatemala. Presented on a handwoven multicolor blanket, her broccoli, cabbage, potatoes and fruits are neatly organized into handmade baskets.

Aguilar is in a cohort of campesinos, or small-scale farmers, who took part in farmer-led agroecology schools in her community. As a way out of the cycle of hunger and poverty, she learned ecological principles of sowing, soil conservation, seed storage, propagation and other agroecological practices that have provided her with greater autonomy, self-sufficiency and improved health.

“We learned how to develop insecticides to fend off pests,” she said. The process, she explained, involves a purely organic cocktail of garlic, chile, horsetail and other weeds and leaves, depending on what type of insecticide is needed. “You want to put this all together and let it settle for several days before applying it, and then the pests won’t come.”

“We also learned how to prepare fertilizer that helps improve the health of our plants,” she added. “Using leaves from trees or medicinal plants we have in our gardens, we apply this to our crops and trees so they give us good fruit.”

The expansion of large-scale agriculture has transformed Guatemala’s ancestral lands into intensive monoculture plantations, leading to the destruction of forests and traditional practices. The use of harmful chemical fertilizers, including glyphosate, which is prohibited in many countries, has destroyed some livelihoods and resulted in serious health and environmental damage.

To combat these trends, organizations across the country have been building a practice called campesino a campesino (from farmer to farmer) to revive the ancient traditions of peasant families in Guatemala. Through the implementation of agroecology schools in communities, they have helped Indigenous and local communities tackle modern-day rural development issues by exchanging wisdom, experiences and resources with other farmers participating in the program.

Keeping ancestral traditions alive

The agroecology schools are organized by a network of more than 40 Indigenous and local communities and farmer associations operating under the Utz Che’ Community Forestry Association. Since 2006, they have spread across several departments, including Totonicapán, Quiché, Quetzaltenango, Sololá and Huehuetenango, representing about 200,000 people — 90% of them Indigenous.

“An important part of this process is the economic autonomy and productive capacity installed in the communities,” said Ilse De León Gramajo, project coordinator at Utz Che’. “How we generate this capacity and knowledge is through the schools and the exchange of experiences that are facilitated by the network.”

Utz Che’, which means “good tree” in the K’iche’ Mayan language, identifies communities in need of support and sends a representative to set up the schools. Around 30-35 people participate in each school, including women and men of all ages. The aim is to facilitate co-learning rather than invite an “expert” to lead the classes.

The purpose of these schools is to help farmers identify problems and opportunities, propose possible solutions and receive technical support that can later be shared with other farmers.

The participants decide what they want to learn. Together, they exchange knowledge and experiment with different solutions to thorny problems. If no one in the class knows how to deal with a certain issue, Utz Che’ will invite someone from another community to come in and teach...

Part of what Utz Che’ does is document ancestral practices to disseminate among schools. Over time, the group has compiled a list of basics that it considers to be fundamental to all the farming communities, most of which respond to the needs and requests that have surfaced in the schools.

Agroecology schools transform lives

Claudia Irene Calderón, based at the University of Wisconsin-Madison, is an expert in agroecology and sustainable food systems in Guatemala. She said she believes the co-creation of knowledge is “key to balance the decision-making power that corporations have, which focus on profit maximization and not on climate change mitigation and adaptation.”

“The recovery and, I would add, revalorization of ancestral practices is essential to diversify fields and diets and to enhance planetary health,” she said. “Recognizing the value of ancestral practices that are rooted in communality and that foster solidarity and mutual aid is instrumental to strengthen the social fabric of Indigenous and small-scale farmers in Guatemala.”

Through the implementation of agroecology schools across the country, Utz Che’ says it has improved the livelihoods of 33,000 families. In total, these farmers also report that they collectively protect 74,000 hectares (182,858 acres) of forest across Guatemala by fighting fires, monitoring illegal logging and practicing reforestation.

In 2022, Utz Che’ surveyed 32 women who had taken part in the agroecology school. All the women had become fully responsible for the production, distribution and commercialization of their products, which was taught to them in agroecology schools. Today, they sell their produce at the artisanal market in Totonicapán.

The findings, which highlight the many ways the schools helped them improve their knowledge, also demonstrate the power and potential of these schools to increase opportunities and strengthen the independence of women producers across the country...

The schools are centered around the idea that people are responsible for protecting their natural resources and, through the revitalization of ancestral practices, can help safeguard the environment and strengthen livelihoods."

-via Mongabay News, July 7, 2023

[burntheedges]

Pas de Deux Chapter 5

Din Djarin x f!reader | 2.9k | fic masterlist | main masterlist | ao3

chapter summary: It's time for the first mixed program of the spring schedule, and so it's finally time to see Din perform.

a/n: Thank you everyone for your lovely comments on the last chapter. Everything still feels pretty shitty but being part of this community does not! See my notes at the end and on the masterlist about reader in this fic and ballet in general. Thank you @katareyoudrilling for being the best beta, as always!!

chapter tags/warnings: gen, ballet terms (see end notes and the masterlist for definitions and videos), a bit more angst (sorry), but we also have fluff

Chapter 5

In stark contrast to that disaster of a rehearsal, your performance in the January program went well. The first night had its usual jitters, but even so, you felt proud of the performance you and the others put on. And Jee had been excited and full of praise, with only a couple of notes about the choreography, which made you more excited for the next performance.

On Friday, though, you had a small costume malfunction, and so you were busy getting stuck with pins and missed Din’s solo. You heard the music from La Bayadère start and cursed — you knew you wouldn’t be back in time.

On Saturday, you saw it. You saw him.

You were standing in the wings, huddled with Adrian and a small group of dancers when Din’s music began. Everyone backstage quieted as soon as the orchestra began. He was wearing a sort-of doublet and white tights that screamed classical ballet. He started in the wings just in front of you and you watched the line of his neck and back as he walked calmly onto the stage.

You knew Talia had chosen three of Solor’s variations from different versions of the ballet. She had Din moving off stage and back on to continue with the three solos that usually appeared at different moments throughout the long performance. Three demanding solos, all in a row.

The music swelled and Din swept his arm upward and, from his first movement, he stole your breath away. Your eyes followed the sheer height of his jumps, the beautiful lines of his extensions. You couldn’t help but marvel at the perfection of his technique, the absolute ease of his movements. You watched the flex of his muscles and wondered at his strength. He made everything look effortless. He had such control, but none of that showed — his face was calm, expression serene. 

You tightened your hold on Adrian’s hand.

Din dipped into the wings and back out for the second variation, and you felt someone next to you suck in a sharp breath when Din launched himself into the air into a double saut de basque in attitude followed by a revoltade. How did he look so weightless?

Talia had been right — this was the perfect way to showcase the absolute phenomenon that was Din Djarin. His strength, his precision, his control, his power, his grace: all of it was on display. 

In the third variation, you assumed he must have been tired. But he soared through multiple double assemblé turns with such ease, it looked like he was floating. 

When he fell into his final pose, the audience lost their minds.

You looked at Adrian, and he looked at you, eyebrows high. 

“That was insane,” Adrian whispered, and you nodded. “I knew he was good, but oh my god.”

You agreed. And you couldn’t help but start to worry, again, about the pas de deux. How were you supposed to partner someone who danced like that? 

…

You worried over that question so much over the next few days that the words started to feel meaningless in your mind. You found yourself waking up too early, too anxious to sleep. It was only a matter of time before that started to show in your dancing. 

In class you didn’t look at Din. You knew you were letting this grow into something in your mind that it probably wasn’t, but you couldn’t get a handle on it. You’d been through this before — moments where all you could see were your own flaws — but none of the tricks you’d learned over the years to claw your way out of it were working this time.

By Thursday, you were so anxious about the entire thing that it must have shown on your face, or in your body. Adrian took one look at you after morning class and pulled you into the smaller, sad break room (with the couch everyone hated) to make you breathe with him until you calmed down.

“Look at me,” he said after you’d taken several deep breaths in unison, squeezing your hand. “You can do this. One practice isn’t enough to make or break anything, you know that. You’ve been there before.”

You nodded, closing your eyes and clutching his hand with both of yours. 

“He’s good, we’ve all seen it. But so are you.” Adrian’s voice was firm and you tried to believe it, too. “And you know Kuiil picked you for a reason. Think about it — Din Djarin has never danced anything remotely like this choreography. On Saturday he was doing what he’s best at, and of course it was freaking amazing. But you’re better at this.”

He was right. You let that truth of it settle somewhere in your chest. You felt at home in more contemporary ballet choreography, and to your knowledge Din had never so much as tried it. Concordia would never even consider it, that much was definitely true.

“You can do both, you know? I bet that was part of it. Casting someone who could show him how to let go of what he knows. He isn’t going to be the only person in that room who’s an expert on something.”

You took a deep breath and opened your eyes. When you met Adrian’s gaze, he smiled. “There you are. You ready?”

You nodded. “I can do this.” You couldn’t let yourself get in your head like that. You knew better.

“Hell yeah, you can. Come on.” He stood and tugged you to your feet, and then grabbed your shoulders. “Go fucking blow him away, ok? I know you can.” He shook you a little, and you laughed.

“Ok! Ok. I can do this.”

…

You tried to let that run through your mind like a mantra as you stepped into the small rehearsal studio. You can do this. 

Kuiil and Din were standing by the sound equipment again. As always, Din was wearing black tights, black sweats cut off at the knees, and a tight, long-sleeve black shirt. You pointedly did not let your eyes linger on the line of his shoulders.

“Come in, my dear. We are going to start with something different today.”

You tried not to wince as Kuiil beckoned you forward, remembering the disaster of the week before.

“Today I will give each of you part of your solo pieces for the start, and I would like you to watch each other as you learn and begin to practice them.” He looked at each of you in turn as you nodded. “I want you to pay attention to each other. How do your bodies move as you learn? How do you come to inhabit the movement? How do you each make it your own?” He gestured between you. “As you know, after these moments, you will encounter each other on stage for the first time. Think about what that would feel like, as you watch each other today.”

You nodded again, frowning a little as you tried to work out what he wanted from you. To watch, to observe? To notice something new? To watch as if you’d never seen before? You supposed you could only watch and try and see what you found. 

“Let us begin.”

He started with you. It was only a few counts of 8, a few moments following the wandering path of the violin in the music. What he gave you was very bare bones — you knew, from working with him in the past, that he sometimes wanted you to find your own way to connect things together. Kuiil always wanted his dancers to put themselves into his choreography.

You realized, after he had shown you everything he wanted to, that you hadn’t even looked or spared a thought for Din as you focused on the steps and the music. You were feeling better, more confident, focusing on choreography that played to your own strengths as a dancer.

“Good. Now, give it a try with the music a couple of times, and then I will show Din how he will begin. Do not be afraid to try different things as you let the movements settle.”

You nodded and took up the first position he’d shown you, arms extended a bit behind you. He started the music and you moved, finding your way through the moments Kuiil wanted in this brief part of the first movement. You let yourself sink into the music and the choreography, trying to feel it more than think about it. You whipped through turns and flicked your leg, almost smiling when your développé was timed perfectly to the music. There were moments that felt more awkward, moments you knew you’d need to work on, but overall you felt the weight in your chest lighten as you danced. You can do this.

Kuiil stopped the music just after you found the final position, and you sucked in a deep breath as you relaxed out of it and turned to look at him. 

“Very well done, my dear. I can see the shape of it forming. One more time, and then we will switch. Try to smooth out that transition into the turn.” You nodded, but your curiosity got the better of you and you darted a glance to Din.

He was watching you intently, which you supposed was only following Kuiil’s directions. But for once his face wasn’t expressionless.

Din was smiling. It was a small thing, barely there, but it took your breath away.

…

Adrian was waiting for you after your rehearsal, and for once you were out the door and down the hall before Din.

“So?” He raised his eyebrows at you as he tucked his arm through yours, leading you down the hall to your rehearsal for the February mixed program. You were both in the same piece, for once, a collaboration between Jee and Vince. “How did it go?”

You told him all about it, about the way Kuiil had split the time between you. “Maybe he realized we need to get used to each other first? But we didn’t really do a lot of that, we didn’t even talk to each other much.”

“But you look like you feel better about it.”

You nodded. “Yeah, I mean, I got to do what I’m good at.”

“Hmm.” Adrian looked thoughtful. “I think that makes sense, though. Letting you learn about each other’s style.”

You shrugged. “Well, maybe. I guess we’ll see next time. But Adrian… he smiled at me.”

“Who, Kuiil?”

“No,” you almost whispered, glancing around the hall. “Din.”

Adrian’s jaw dropped as you led him through the door for your second rehearsal. “What,” he hissed, but there wasn’t time for him to ask you for more details. You put it out of your mind. You had to focus on the dance in front of you, anyway.

You took that motivation forward through your weekend and the next week of rehearsals. You had so many performances coming up — the February mixed program, Midsummer, and then after that, Swan Lake. And another mixed program in April. And Cinderella. You usually didn’t let yourself think that far ahead — you had so many rehearsals, and so much physical therapy, that you tried to focus on the next performance and maybe the one after. The ones that were right in front of you.

But it was a helpful distraction, for once, thinking through the rest of your season. 

You knew Din had joined the Balanchine ballet for the February mixed program, and you knew those rehearsals were heating up. So you barely saw him outside of morning classes, and you’d been trying not to watch him as much. You wondered, a bit, if you should try to talk to him again, but you weren’t sure what you’d say. Hey, let’s get to know each other so we can actually dance together? 

That one smile aside, he was still so closed off you weren’t sure how to bring yourself to try.

…

The Thursday of your third rehearsal with Kuiil arrived, and you moved quickly down the hallway, almost running — your rehearsal for Midsummer had gone long and you didn’t want to be late.

You turned the corner, moving quickly, and let out an “oomph” as you almost slammed into someone. You felt strong hands come up to steady you and once again blinked up to find Din looking down at you. His large hands were warm where they rested on your waist. 

“Shit,” you cursed. “Din, sorry, I was —” you took a deep breath. “Sorry. I was running late. Obviously.” 

His face was, of course, expressionless once more, but you could have sworn you saw the tiniest lift in the corner of his mouth as he looked at you. “It’s ok. I’m late, too.”

You smiled at him, hesitant, hoping to find that bit of ease you’d briefly had together before your rehearsals started. “Balanchine?”

He nodded. “Balanchine.”

You stepped back a bit and ignored the way it felt when his hands slid from your waist and brushed over your hips before falling by his sides. “How’s it going?”

Din fell into step beside you as you started to walk towards the small rehearsal studio where Kuiil would be waiting for you. “Good. They hadn’t rehearsed much when I started, so it was easier to step in and join one of the pairs.”

“Who have they paired you with?” Symphony in C featured four principal couples, and many of them had danced together for years at this point.

He nodded, seeming to understand your question. “Yuna. They hadn’t finalized that pairing yet, so it was easy to step in. And we didn’t do a ton of Balanchine at CBC, but I’ve danced the first before.”

That made sense. Yuna had just made principal this year, and had yet to form a strong connection with any of the others. You couldn’t imagine them breaking up the pairing of Mira and Diego, for example, or giving Din the adagio in the second movement, when he barely knew anyone yet. And that role, the pair featured in the first movement, was tough. It was perfect for him.

“Yuna’s great. She’s so good at partnering, too.” You could almost see Talia’s vision for them, in your mind — she and Din would dance beautifully together.

You’d arrived at your studio, but before you could step inside, Din said, “she said the same thing about you.”

You froze as Din moved past you into the studio. He had talked about you? With someone else? You stepped inside, in a bit of a daze, as you tried not to wonder what they’d talked about.

Later, during rehearsal, you clung to that positive moment in your mind, because it felt like the first rehearsal all over again. Kuill had you both run through the sections he’d shown you the week before and then returned to the moment you met on stage for the first time. But you could tell from the start that it hadn’t gotten better.

Somehow, it had gotten worse.

You’d lost count of how many times you’d tried it so far, but you took a deep breath as the music started. You started your pass across the floor, leaping into an attitude before rolling out of it. You were supposed to stand and find Din in front of you, except he wasn’t where you expected him to be, so it didn’t quite work. And then the moment passed. 

No matter how hard you tried, you and Din couldn’t seem to find each other at all, throughout the rehearsal. You had no idea why you couldn’t seem to connect with him. Were you feeling the music differently? He felt so distant from you, even standing only a few feet away. Your movements felt separate, like you were on two separate stages, rather than sharing one space together. 

You could feel the frustration begin to build from the base of your spine. You didn’t understand how you could have such an easy conversation with him in the hall and then hit this wall inside the studio, where it should have been easier to connect with him. It had never been this difficult for you to get to know another dancer before.

“Alright.” Kuiil stopped the music and you tried not to read into his tone. “That is enough for today. I know you have the mixed program this weekend. Focus on that, clear your minds, and next week we begin again.”

As you started to leave, feeling defeated, Kuiil called you back. You turned and saw Din hurry out the door in the mirror. You caught a glimpse of his expression as he did and realized he was frowning. Your own mouth turned down in response. 

“My dear, I can see that you are frustrated.” You nodded. As he’d said before, your body couldn’t lie. “I want you to think about something before our next practice. How did you learn to connect with other dancers on stage?”

You thought about it for a moment. “Through movement, I suppose. And interpreting the choreography together.”

Kuiil nodded. “How is it different, when you are performing different styles?”

You blinked. You suddenly understood where he was leading you. “In classical pieces, it’s more pre-defined. It’s constrained. The connection, I mean. And how we are able to express it.”

He nodded again. “Think about that, as you rehearse this week. And we will try again.”

…

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a/n: so 👀 how do you think the next one will go 👀🩰

Solor - this is a very difficult, technical role in a famous classical ballet, La Bayadère! Here’s a really long video of an almost complete performance by Sergei Polunin. The exact number of variations/solos that Solor has can vary by production but there could be as many as three, one per act, and I decided to make Din do all of them. Here’s one, two (and another one, and another, and another), and three with the double assembles. You may have noticed that the second variation can have a lot of different jumps in it – I stole the idea for the double saut de basque and revoltades (and another) from a couple places. I know I saw someone doing the double saut de basque in attitude where most of these men are doing a double saut de basque en dedans (both are in that video) but now I can’t find it.

Symphony in C - a very NYC Ballet piece choreographed by George Balanchine. It’s basically 100% focused on technique and it’s hard!! There are four principal couples featured in four movements. Din joins the first couple. Reader also mentioned the third. This is the sort of performance CBC would have been less likely to do, but it’s so technical and classical they would have added it to their repertoire to broaden it without moving from their classical stance. Here’s a recording of the whole thing from 1973.

Classical ballet - I’ve mentioned this before, but now I’ll say that not everyone would interpret classical ballet the same way. Din’s previous company was on the more strict end of the spectrum. We’ll learn more soon!

I know I've mentioned attitude before, but this time we also see a développé!

tag list coming in a reblog!

[kachmedcom]

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I hate it when people do that tbh

so your girl (me) got into a volunteering thing with my friend and i was really excited at first because the woman told me it was only 2 hours a week but turns out it’s 4 hours on the same day every week. i think im gonna re consider and leave :(

[amourrencontreseduction]

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