Building Muscle Memory
Wiggins and I have been writing about the technical aspect of our venture; the "how" and "what" of software and tools we are using to launch our site and our project. But no matter how many bells and whistles we build, if there is no THERE there, it doesn't matter. I want to be mindful of understanding the tools we have available, but at the same time, I understand and embrace that the creative power in our project resides somewhere else, not necessarily in gadgetry and layout. There is a place for design, but if it is not driven by an over-arching vision for what we are trying to say or communicate, it becomes misguided, and like a shiny pair of rims on a new car, it runs the risk of being just eye candy that adds no significant value to a vehicle (disclaimer: I have NEVER, ever, ever, bought designer rims for my vehicles. I was tempted once to buy grills for my teeth, but I quickly discarded that idea given some issues I was having with a cavity. Story for another time).
Our concept is based on a colorful character that as a team we have developed on-and-off for over ten years. I have been interpreting this character over a number of theatrical shows, and over the last couple of years, I have had the pleasure and privilege of working with a number of teachers that have helped me further refine what my character can be and what he's capable of.
Movement is at the core of this character, and given my desire to continue to develop and evolve my ability to shape and weave the narrative to its fullest potential, I have continued to seek the advice of other instructors - to be inspired by how they create and do their thing. My latest sensei is this guy named J Rock. He teaches a poppin class at the Debbie Reynolds Studios in North Hollywood. Check out a clip of J doing his thing:
I have been taking J's class for the past couple of months, and although I feel like a dinosaur in a room filled with what appear to be a bunch of tweeners whose limbs have the elasticity of rubber bands, his classes are really fun and have afforded me the ability to expand my movement vocabulary. His style is very unique and his approach original, and I feel it gives me good ideas in turns of what I can with my own movement
Until a couple of weeks ago, I was only dedicating a day a week to doing the routines he has taught me in class. Now I am dedicating at least an hour a day to putting in some work in my garage (I am lucky I have some workspace where we have put up some mirrors for me to workshop this kind of stuff). And as I was telling my wife, if I put in a total of at least 30 hours of this kind of work by early April, I feel confident that I will expand my vocab exponentially (we'll be doing a shoot in April where we will have my character do some movement technique). J has been doing this for years, and he is obviously a pro. I have been doing this for only a couple of months, and I can already see the difference in the quality of work I can output. It has helped my technique tremendously.
For me it's popping. For now. Figure out what you can do on your free time to do your thing, to build muscle memory. You will be surprised what you can do with just a bit at a time. And always remember what your vision looks like so that when you get all of your gadgets lined up and up and running, there is something worthwhile to share with the world.







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