[ if shu hears that little, teasing note in nazuna's tone, there's nothing really to show for it, since he looks as unflappable as ever - but then again, his smile is just a tiny quirk upwards of his lips before smoothing over into careful neutrality. ]
I'm just checking - turn your hips out a little more. [ a tap, over nazuna's right hip, before long, elegant fingers press on the small of nazuna's back, just off the centre, off the bumps of his spine underneath his clothes. ] Straighten your back a little bit more, you'll get a better line.
[ it's always been all about the detailing, because shu is meticulous and that's always been the difference that pushed it, elevated it from something normal to pure art.
there's a part of him that wants to press a little closer; rest his chin on nazuna's shoulder and…
(he doesn't.)
instead, what he does is to guide - first position to second position to third, and nazuna has always been pliant under his hands, perfectly moulded, lithe and effortless; hips turned out similar to first position but the heel of the front foot touching the arch of the back foot, left foot in front.
and then-- ] Try an arabesque. [ there's a slight nudge there, just to get nazuna to step back away from the ballet barre, just enough for there to be space to execute the move, shu moving to stand in front of nazuna now, hands braced on nazuna's hips for support, his grip firm but gentle. ] Put your weight on your left foot and lift your right leg. [ he wanted a challenge, right? ] See if you can lift your leg ninety degrees.
[ don't worry, I'll support you, is implied, even if shu doesn't say it outright.
nazuna has the makings of an ballerina, an excellent one, if he'd trained as long as shu had, channeled that energy and that talent into art instead of being an idol and child star.
how wasted, shu doesn't say, because even in these small, basic movements, nazuna moves with shades of that airiness and lightness that every danseur pursues. ]
no subject
I'm just checking - turn your hips out a little more. [ a tap, over nazuna's right hip, before long, elegant fingers press on the small of nazuna's back, just off the centre, off the bumps of his spine underneath his clothes. ] Straighten your back a little bit more, you'll get a better line.
[ it's always been all about the detailing, because shu is meticulous and that's always been the difference that pushed it, elevated it from something normal to pure art.
there's a part of him that wants to press a little closer; rest his chin on nazuna's shoulder and…
(he doesn't.)
instead, what he does is to guide - first position to second position to third, and nazuna has always been pliant under his hands, perfectly moulded, lithe and effortless; hips turned out similar to first position but the heel of the front foot touching the arch of the back foot, left foot in front.
and then-- ] Try an arabesque. [ there's a slight nudge there, just to get nazuna to step back away from the ballet barre, just enough for there to be space to execute the move, shu moving to stand in front of nazuna now, hands braced on nazuna's hips for support, his grip firm but gentle. ] Put your weight on your left foot and lift your right leg. [ he wanted a challenge, right? ] See if you can lift your leg ninety degrees.
[ don't worry, I'll support you, is implied, even if shu doesn't say it outright.
nazuna has the makings of an ballerina, an excellent one, if he'd trained as long as shu had, channeled that energy and that talent into art instead of being an idol and child star.
how wasted, shu doesn't say, because even in these small, basic movements, nazuna moves with shades of that airiness and lightness that every danseur pursues. ]