Ballet as a language and art form is etherial and powerful; as a practice, it is violent and discriminating. Built on unachievable perfection, it becomes the unrealistic glorification of the few and the blatant dismissal of the potential of the many.

My thirty year ever-evolving research in classical dance pedagogy is based on debunking the idea of ballet as an elitist art form, nurturing the appreciation of the diverse shapes and sizes of the moving body in the ballet vocabulary, and of gender fluidity in the ballet studio. My practice of thinking continues to be influenced by my experiences in the field intersected with many somatic practices, Rudolf Laban’s theories of space harmony, Bartenieff’s body integration, the study of imageries, experiential anatomy, music experimentation, critical race theory and non-violent philosophies. This work invites the participants to discover the complexities, mysteries, and intelligence of their own body as a point of entry into the ballet vocabulary.

By unpacking ballet's cultural construction, the radical call of action is to be fully present, trusting and joyous of one’s capability and fullness allowing for unhindered collaborations with other creatives and art forms.