From Wilis to Almost-Kitris - It's Showtime!

After last week's near-collapse at the end of pointe class, I'm back full force! I almost got a little worried after that incident, it was the first time I had ran out of steam mid-way through our routine. We had just marked the choreography (very cool Forsythe-style) to refresh our memories, and it was the first full-out dance of the class - but already too much for me. I had to step aside and out of the way. That or stumbling over my own two feet, or even worse, fainting/puking right there and then. Gave my teacher Marie-Pierre a bit of a scare, she thought I had injured myself. But I was just exhausted, and needed nothing more than to rest and sit out the remainder of the class (only 10 minutes left). Which, admittedly, was the second time in five days. Seriously, I do not recommend taking three ballet classes in one day, not when you're still recovering from a cold. I had rested for a full three days, and two more would have been advisable, but I'm kind of stubborn like that. Before you scold me (I know I deserve it), I was fine already the next day. Had a great class on Thursday, an even better two classes on Friday, rehearsal on Saturday and a very awesome triple-set yesterday. Crisis averted. :)

Come to think of it, I seem to get a cold every time we start to rehearse for our spring recitals. It has never stopped me from taking part, but it is really annoying. Luckily we still have a full month before the show, so I can practice and take class without having to hold back. At least my timing doesn't suck. Can you imagine getting sick on the eve of your performance, especially when there's only one show each year? This year there's the added excitement of two dances, the small bit from Giselle I wrote about earlier, and a big group number. The latter is an eight minutes long mini-ballet for a corps of 18 ballerinas and one danseur. The music is from Minkus, and the choreography is from.. wait for it.. Don Quixote!

Of course it is a modified compilation of the original, we are not professional dancers or pre-pro students (though a few of the younger girls have had vocational training and are very good). Our "company" is put together from all levels, basic through advanced and ages nineteen to forty-ish. Most of us are dancing together for the first time. Some have never performed, while others have been on stage since pre-school. Me, I'm hardly a veteran, despite being the oldest of the gang. I have danced in front of a real audience for only six times. Then again, those times took place in the last three years and not in early childhood. Memories and experiences are fresh, the theatre is familiar and I'm in better shape than ever. I still get very nervous, though..

Last Saturday was our first group rehearsal. Our teacher Gabriella gave us The Talk, about how everyone is equally important - even when you're standing in line while someone else gets to dance two eight-counts more than you do. She is right of course. Our ballet starts with eight dancers (I think) lined up in diagonale. They do a set of temps lié arabesque, chassé and soutenu turns four or six times. I'm still fuzzy on the counts.. This first group consists of the basic and advanced beginner levels. After they complete the opening steps and move to form lines left and right, the first of three trios comes in. I'm with the second pas de trois, the intermediate gang.

Don't worry, I'm not going to write down the entire choreography.. But in case you're interested that much, my trio's first diagonale consists of glissade - assemblé ecarté - piqué attitude (efface), times three, change direction, chassé - temps levé arabesque - glissade - pas de chat, finishing down-stage right. Every group has its own entrance. After the final trio enters and takes its place, all of us dance together before changing formations again. And so forth.. I might give you more details in my next rehearsal-post, if you like. Or even if you don't like. ;)

The video below is for inspiration. I chose this particular excerpt because at 5:06 the ballerinas are doing he same jump we are - and this one was totally new for me! It's like a small grand jeté, except you jump without prep and the back leg is in attitude. In our version we are doing six, with quick pas de bourrées in-between and changing directions for every saut. It's quick and tricky and I'm still working on it.

All in all, our dance is really fun and energetic, and I think it will be a big crowd-pleaser. There are Spanish influences (in the style of Don Quixote), hand-clapping and finger-snapping, quick steps and big jumps and we even have our own matador.. What's not to like?

Jilted, Dead and Haunting - It's Showtime!

We started our spring show rehearsals last Friday - and not a day too soon, might I add. The performance is in five weeks, which unfortunately does not equal five weeks worth of rehersals. But then we would be dancing in some Fancy Company, and not in our dance school's spring recital. To be fair, more time was planned. We were supposed to start as early as February/March, but then there were circumstances which could not be helped. Still, better late than never. In addition to our regular classes (which are reserved for technique practice), we get to rehearse the choreography every Saturday for two hours, right until the final weekend of May when it's showtime. Am I excited? You bet!

This spring recital marks a sweet premiere for me. It's my first time in pointe shoes, on stage. After practicing pointe technique for approximately a year and half, I finally get to take my babies to the ball! The party lasts only for two and a half minutes (not men), but.. it's Giselle! The first ballet I ever saw performed live! I was twelve years old and thought it the most beautiful thing ever. And now I get to be one of the wilis [insert sigh of happiness]. Pointe-wise it's not a difficult piece, there are some bourrées couru/suivi, a few pas de bourrées and a nice set of piqués with battements double. I kind of wish there could have been a little more pointe technique, but I know what feels "easy" in class turns into a challenge on stage. What am I saying? It's Giselle, for crying out loud! Sigh..

There are many versions, and subtle differences especially in the port de bras - but this version below comes pretty close to ours. There are only eight of us, which lessens the corps de ballet effect somewhat, but it's a nice group to dance with. Our bit starts at 0:12 and ends at 2:50.



Oh, I should mention that this is not the only piece in which I get to perform.. But I tell you more about that in my next post! :)

Letting Go

I had to skip my ballet class today. Apparently it's flu season and I caught me some, hacking cough included. I was already feeling it last Thursday, and even more so the next day - but I just kept going to class! And I don't regret it, even though I had to skip allegro on Friday and lie down for a while. That actually sounds more dramatic than it was. I did the first small jumps, then took a ten minute rest'n'stretch before continuing with pointe class. Really happy that I did, because we finished that First Variation from Paquita! It's the same variation that had me writhing in discomfort when our teacher introduced it. I didn't think it suited me, didn't think I could do it. Read about it here. Hah! It can be so good to be proven wrong.

Sometimes I take ballet a little too seriously. I have a tendency to over-think when I should just be dancing, and I tend to demand too much of myself. I'm not saying that you should leave your brain in the locker and say nay to any ambition, but you gotta chill a little. Give yourself the opportunity to fail before you eventually get better. If and when you make mistakes or mess up or look funny doing it, chuckle it off and move on. Once I realised that I did not have to pretend to be another pretty teen princess, but that I could go for elegant and womanly - someone with character - I relaxed into the dance. And of course I had made an unnecessary fuss about it, since we were not practicing that variation for the stage. Our teacher chose it because you get to learn a lot of technique, and dance too. Enjoy yourself, you know?

Last Friday I did just that. I don't know if it was the cough syrup, or the fact that the steps had finally sunken in. Up until then it had always been on the verge of a Monty Pythonesque silly walk, what with coordinating the tricky port de bras to the feet stepping on pointe. You can review the section here, I have timed the video link to the right spot. Alina Somova is dancing, and she does it lovely. For me, the being on pointe was the easy bit. I love doing those steps - you're so high up and it's not like any other kind of walking. Right, I hear you. It's ballet! The arms, however, were a challenge from the beginning. They have to be fluid, soft and alluring - but they don't have to be exactly the same for every dancer! Once I understood that, it gave me the freedom to let go. My feet already knew where they were going, and finally the rest of me followed suit.

And you know what? I felt so beautiful dancing it.

So You Think You Can Teach?

Sometime ago Madame asked me if I had done any teaching yet. First I was confused, then I was floored - she was talking about teaching ballet! I was almost too quick to answer "no, good heavens no.." But, as Madame had started the conversation, I dared to say that it had at some point crossed my mind. You know, teach a basic class to adult beginners. Still, I was blushing as I said it - I had always thought that any professional teacher would consider my potential teaching ambitions presumptuous. But it was Madame who was asking, and she seemed both sincere and serious about it. Even better, she thought I could do it. Teach ballet!

Dear Readers, I haven't gone crazy. I know there's a difference between giving class and teaching class. I could never match the skill and experience of someone who has had vocational training and  or a professional career performing. Not even if take class for another twenty years. Then again, not every student needs a master teacher at every level! There are many fine teachers who have had only a brief career on the stage. My first teacher was trained in classical ballet, but performed as a contemporary jazz dancer. Still she was a very elegant ballerina, in every way. But how great a dancer do you have to be, to be a good teacher?

A master teacher can be in her seventies, and poke you with a stick do drive a correction home. She will also have many decades worth of experience, authority, a keen eye and a real passion to pass on her knowledge. A great teacher will know which buttons to push and when. She will coach, guide, motivate and inspire her students. That and knowing the entire ballet vocabulary, its steps and sauts, the technique, musicality, history and artistry involved. A good teacher is able to analyze and deconstruct steps, to teach progressively, and to give her students the tools to understand and advance. Knowing all this, I have tremendous respect for my teachers.

Looking at the list of qualities and requirements I just wrote, I can't really see myself teaching ballet. Not seriously, not when there are so many other and more capable dancers/teachers around. I feel like I would be cheating potential students out of something. Then again, I have not been dancing for the past twenty years without ever engaging my brain.. Much of my ballet-education has been a back-and-forth dance between different schools, teachers and levels. When I was allowed to to challenge myself in a higher level class, I knew to stay in the back and not ask any questions. Instead I watched the teacher and everyone else and worked out the steps by myself. The good old "fail again, fail better", or the way of trial-and-error - those were my methods of learning. And still are, to a degree. Luckily, I also have the best teachers to show me better ways!

There are some things that I've figured out over the years, which could be helpful to others as well. Sometimes teachers don't (immediately) understand why certain steps or sequences might confuse us adult dancers. In diagonale, it is not always the new jump that is being taught, but the steps preceding it. What is the beginning position, which foot goes first and how do I get from A to B? For those teachers who have gone the route of talented bunhead - vocational student - professional ballerina, ballet is imprinted on their brain. As natural as walking. For adult students, it can be like learning to walk all over again. Possible, but challenging in unexpected ways. I have been there.

Long post short, it is unlikely that there will be a teaching career anywhere in my future. I live in Big City, and there are enough ballet teachers around as it is. Our schools prefer trained professionals anyway (which is good). Although, if I had the chance, I would love to try it sometime. Just between friends and fellow adult dancers. I think teaching would be a great learning experience. 

Dancing Against Time

At least one of my ballet teachers has me figured out. The preceding conversation went along the lines of "ballet is more than a hobby.. it's your passion, yes?" It wasn't even a question, but a statement underlined with a knowing smile. For a second I feared Madame was going to say obsession, what with all the ballet blogs I write and the classes I never miss. I told her that it's been like this for some twenty years now, more or less. Okay, there have been times when my relationship with ballet was an on and off love-affair, even times when I didn't dance at all. But I know that I'm not getting any younger..  Now I just want to dance as much as I can!

For once, I was met with sympathetic understanding. Madame said she had felt the same way when her performing career was nearing its end; a strong desire to dance and a sense of urgency. Much unlike your early twenties, when there's no apparent limit to time and opportunity! Of course I'm not a professional dancer, and no artistic director is going to end my contract and have me bid farewell to the stage. Ballet is hard, but I've had it comparatively easy. One or two classes a day, four to five times per week. Pro-ballerinas, on the other hand, have class in the morning, then rehearsals, followed by a short break, warm-up class and finally perfomance. Ice, rest and repeat on the next day, and the next.. No wonder dancers peak around their mid-thirties!

Counting in ballerina-years, I'm old. Old enough to retire and let the next generation take over. But thank goodness I'm no ballerina! Au contraire! As an adult ballet dancer I have still plenty of mileage left, and I hope that I get to perform at our spring shows until I'm old enough to be wheeled on stage. Aurora's grandma, anyone? Fact is, I'm in better shape than I was ten years ago. Stronger too, even more flexible. But..

I am dancing against time. Another birthday is looming around the corner, just three ballet classes away. Ten years from now I might be a more expressive dancer, but I won't be as strong. It is highly unlikely that I will have the same "wonderful jump" (teacher's words, not mine - and too nice not to share :). It is improbable that my extension will get any higher or my pirouettes turn better. Dance keeps you young(er), but inevitably we will all dance our way down-hill. Which is not that bad, as long as you adjust your expectations, pace yourself and enjoy the ride no matter what. But, I'm not quite there yet.

I still have the energy and drive to take three classes on a given day, and I'm more than happy to dance most of my spare time. My body can still take the push, do the deep back-bends and jump high and far. I know it will not last at this level, not forever, certainly not for ten more years. Which makes tomorrow, the following weeks and months, this summer, next winter and the spring thereafter all the more precious. Then again, the only time to dance is in the present. Next class is on Tuesday, and there will be no more talk of old age and such! :)

High (On Ballet)

I always leave ballet class happier than I came in. No, that is not entirely correct. Most of the time I'm as happy going in as I am coming out, because I know what to expect. There is the familiar sequence of barre and center, of course, and that of adagio and allegro. I know that my teacher is going to put us through our paces and that there are going to be lots of corrections. Real work and sweat. Praise too. Also moments of self-doubt and of frustration. But class is more than the sum of its parts. Any which way I do my reckoning, it all adds up. Ballet does me good.

A good ballet class is already a fine thing to have and behold, but sometimes it gets even better than that. Call it pay-back for doing time on the learning-plateau, or call it a really good day. Or call it like I do: the bestest high! I had such an awesome class last Tuesday, and I'm still riding it. Actually, it was class times three: my Super-Tuesday-Triple-Bill with Marie-Pierre. Not the official name in the class schedule, but it might as well be! First off, the basic level with mostly barre-facing exercises. You might think that after 20 years of ballet there is not much to gain from a beginner's class, but then you would be wrong.

For one thing, there is always room for improvement. For another, a basic class lets you work on your basics, clean up and maintain what technique you already have. When you have four counts for one ronde de jambe instead of two, there is that much more time to be aware of your turnout and your heel alignment. Let me explain how it worked out for me.. Since November 2010, Marie-Pierre has been persistently coaching and coaxing me to realise my full potential en dehors, along with improving the arch and instep of my pointed foot. And you know what? The results are finally showing off! By no means has it been an over-the-night-success; I had to do both the mental and the muscle work. But this past Tuesday, when my leg was in degagé derrière, my teacher told me once again to turn out more - and I did. Then she took hold of my foot (again) and showed how much more I could and should pointe, and how to hold the turnout at the hardest part of the ronde - and I did. The difference was real and visible and it felt totally awesome. Better than any A+ I ever got in school!

That alone would have had me on a ballet-high, but there were still two more classes to learn and to dance. Really, how lucky can you get?

Dare to Dream

I remember that Saturday from five years ago so well, it was after ballet class in the old Alexander Theatre.. My teacher Jill was walking her bike alongside me because it was nice to talk at the same time. I told her that I would never ever quit dance again. I had been back in ballet for about half a year, and Jill had just informed me that I was doing well enough to re-join the intermediate-advanced level. I was already happy that I had rediscovered pliés and ronde de jambes and sauts, everything else was the cherry and hot chocolate sauce on top of a very large sundae. I told her how good it was to be in class again, and that I didn't feel like I would have to keep up with the younger crowd anymore. She laughed, and said something about how she no longer looked into the mirror herself. Silly really, since Jill was fit and fab at fifty still. Anyhow, she said she was happy to have me back. It was a sunny day, early spring yet.

Life rarely goes as planned. That same year, late in summer, Jill died a sudden and untimely death. I had seen her the evening before, she was teaching a yoga class and appeared to be in the best shape of her life. Three days later I attended her funeral among hundreds of grievers. I was devastated - Jill had been my first ballet teacher and a huge influence in my early twenties. Five years later, I still miss her at times. I wish I could show her that I have continued to dance to this day, that I never quit, never gave up again. I wish she could see that the out-of-shape duckling from then has almost turned into a swan (of sorts). I wish I could tell her that I dare to dream again.

Today I watched Finnish ballerina and étoile Minna Tervamäki dance her farewell performance in La Bayadère. Five years ago she honoured the memory of my teacher Jill by dancing the Dying Swan at her memorial. It was heart-breakingly beautiful. Today Minna danced the part of Nikiya, for one last time. As usual, she was the epitome of elegance, assured and soulful. The standing ovation that followed a testament to her wonderful career. After the curtain rose for maybe the fifth time, Minna stood alone on the stage, head bowed to her thankful audience who did not want to let her go with anything less. I cannot imagine what was going through her mind right then, how she felt at that moment. Gratitude, bliss, loss, love, happiness? But I do know this: she is one who dared to dream.

In class you can always try, fail, try and get up again - but there is a limit to how long you can hold back your dreams to wait for another day. Dream of turning triples? Don't be scared of turning doubles and falling on the floor. Dream of dancing on pointe? Put in the work, and then you get to put on those shoes. Dream of dancing on stage? Then get ready to be the best dancer you can be, even if you're in back row and third from the left. Dream a little, or dream big - but be happy with whatever you can get.

Since that Saturday of March 2007, a lot has changed. I have changed. For one, I can keep up with students half my age. Though I'm kind of dismayed that any girl half my age is no longer in kindergarten or even high-school! Seriously, is everyone else getting younger or is it just me getting older? Never mind, what counts is that I'm not done yet! I can still get stronger, learn new steps, turn triples and present myself. And hello - pointe shoes! That used to be a dream I had buried long ago. But this spring I might, possibly, even get to dance on stage - on pointe! Darlings, sometimes the dreams you dare to dream really do come true.

Counting the Days

How do you know you've been dancing more than enough? When you don't panic because of the upcoming Easter break, but actually look forward to some ballet down-time! And I have to tell you, this is a big deal coming from me. Even my teacher raised a pronounced eyebrow at me when I told her I've been dancing too much already.. But you have to listen to your body, and whatever other noise your inner ballerina is making. In my case I've started to fade out in class, not paying attention at the barre and forgetting familiar exercises. Although I have to admit that too much of ballet might not be the only culprit. Switching clocks back to summer-time, messed-up sleeping habits and work-related concerns all play a part in my ballet-weariness.

The odd thing is that I have gotten a lot stronger lately. My extensions are higher than ever and my flexibilty seems to have improved significantly. There has even been some suprising technical progress. In the past week I did my first double pirouette into double fouetté (yay), nailed one entrechat-six, and overall I have now better ballon and balance. And in Friday's pointe class our teacher taught us Paquita's entire first variation! It was modified to our level, but there were still enough technical challenges. Like this new step combination we did yesterday: chassé - pirouette en dedans, arms in couronne - from croise fifth, plié and relevé onto first arabesque. Especially the last bit was scary. But awesome! This should be cause for lots of ballet happy buzzes, and it is. Maybe my ballet-fatigue is totally normal - at the moment you're most exhausted you make the most progress? Maybe I have outgrown my old excuse of "that is too difficult for me", and now I really must and can step up?

There are some five-six classes before the Easter break, and I plan to take them all, no excuses. There's Marie-Pierre's triple-class on Tuesday, which is always a high point of my ballet week - no matter what state of mind and body I happen to be in. And Mondays are good too, especially since I get to do a regular class on pointe. Wednesdays are my usual days off, and I'm keeping next Thursday optional. Which means either four or six days of no ballet. Good timing too, because after Easter we start rehearsals for our spring show. This will increase my ballet days to six per week, and I won't even bother to count the hours involved! Mid-April also marks the end of my three-month sabbatical, and it's back to the office for me. Drat. But in the meantime - plenty of time to rest, regroup and eat obscene amounts of chocolate eggs!

"Dare to Dream" print by Lim Heng Swee. Click here for more details: Etsy

Company Class: Pointe

There I was, at the Finnish National Ballet, sitting on a cushioned chair, tucked between the grand piano on my right and the wall-facing barre on the left. The first dancer was so close I had to glue myself to the piano to avoid getting grand-battemented. But it was a great spot, as I could watch every dancer in that huge studio. And guys, before they even started I had to check out all the dance-wear! Old sweats, loose and baggy, sleeker wool-acrylic warm-up rompers, leg warmers, down-vests, down warm-up booties, wool socks, crocheted scarfs around the hips, skirts, lots of yumikos in all colour combinations, black leggings, a few cut-off pink tights, some in other colours too. My favorite of all has to be the "I Love Nutella" t-shirt. It's really not your average work-wear - unless you're a dancer of course.

But let's steer away from class-fashion (which really deserves a post of its own), and get back to the actual dancing! Barbora Kohoutková demonstrated the exercises, but to my surprise she didn't stop there. Instead of doing the rounds, observing and correcting the dancers, she joined in and did the same barre with them! Which makes perfect sense, however, when you know that Kohoutková is still a dancer herself, and on the stage as Gamzatti this coming Saturday. And like every other professional dancer, she needs morning class to check in with her body, to limber up, to maintain technique and get ready for the day's rehearsals and performances. For us adult recreational dancers, class is usually all we get - but for the pros it's just the start of the day. Amazing and seriously hard work, really.

And that hard work started with a 30-minute long barre, which is about 10-15 minutes shorter to what I'm used to. But again, it makes sense since their morning class lasts only 75 minutes (followed by rehearsals) - and you would want to spend most of that in center anyway. It was a good barre too, lots of variety in the phrasing of the exercises. I tried to write some down into my notebook (the paper version), but there is no pause-button on a live class! Suffice to say, it was a speedy barre. And to my delight, one that I could have managed myself! Of course, you have to keep in mind that company class is first and foremost warm-up and keep-up. Pros don't need to learn new technique at the barre like us students do. The really challenging stuff comes in center, and with repertoire and new choreography. But I gotta tell you - it's an awesome sight to see thirty+ ballerinas extending their legs in developpé ecarté up to their ears! Wow.

After barre on came the pointe shoes - and here's where I would have scurried into a corner and out of the way.. Far too difficult for my skill-level! Which of course made it all the more fascinating to watch. Again, Kohoutková demonstrated full out and on pointe herself - but this time she remained in front of the class and gave corrections and advice. I was suprised that they repeated the same exercise as often as four-six times, that is if I counted right. As one group finished, the next one was already taking first steps.. and the pianist kept playing, changing tunes to keep them motivated and entertained!

There were only pro dancers in the room, except for yours truly, but even the pros don't nail every balance nor land every pirouette all the time. That's kind of comforting to know, you know? :) But when they do stay up, up, up or go for the quadruple, it's such a thrill! I saw one of FNB's étoiles, Salla Eerola, finish her enchaînement with a quintuple pirouette. Just like that, as if it were as simple as walking down the street. Yikes.

I wish I could have recorded that class on video. How often do you get to watch the étoiles, principals, soloists and corps do their morning class on pointe? What I loved was the talent and the skill, the sheer beauty of it all, but also the variety. On stage the corps de ballet has to dance as one, but here you could see individuals, along with the soloists, of course. They all have the prerequisite look and technique, but still there was variety in the quality of their movement. Something distinctive in their épaulement, someone with more bouncy ballon, another with fearless pirouettes, one dancing with intense purpose, another with relaxed calm. Some with the softest of pliés, one with the most elongated of extensions. Different colours and nuances, all beautiful.

I still feel inspired after that class. And even more in awe of the talent, hard work, determination and drive it takes to be a professional ballerina. As an adult recreational ballet student, I can only day-dream of working days in the ballet-studio and on the stage.. but I do share the same passion and love for ballet. And I know you do too.

Until next time, dance and pointe until you happily drop!

Salla Eerola's feet and shoes after pointe class. Photo: ©PTYD.

Behind the Scenes at FNB: Company Class

It was early, and I was getting somewhat nervous.. I had told the receptionist of my appointment with the Press Manager and that she would come and pick me up. There was still time to sit on the nice couch in the elegantly restrained foyer of the National Opera building and watch personnel coming in, mostly dancers. It was already a quarter before 10 A.M., morning class time. You cannot mistake ballet dancers for any other professions, not on the street, not among a big crowd. But here it was far too easy and I didn't want to stare. I was trying to be cool, you know (to cover up a sudden onset of shyness). Even when the famous, popular and stylish Minna Tervamäki, soon to be retired étoile, walked in. I'm lucky I'll get to see her farewell performance on the 31th of March - she is dancing the role of the bayadére Nikiya. Should have asked for her autograph! Next time, enough with the being-cool cover-up. ;)

Costumes for the upcoming La Bayadère.

Ten minutes before ten Heidi Almi, the very friendly Press Manager of the Finnish National Opera and Ballet, walked in and gave me a warm welcome. She then escorted me trough a security-gate, down a long marble-paved corridor, small stairs up, where we took the elevator down into the basement. The Opera building has four dance studios, but the ballet may also use the smaller stage of Alminsali and two rehearsal spaces of the opera. The big basement studio has only been in use for about a year. It used to be a storage space for the stage sets, hence the the two-story-high ceiling. You could easily build a cheering-pyramid in that studio!

Alas, no cheerleaders but a room filled with about thirty ballerinas, clad in as many different warm-up clothes, some still drinking their morning coffee. No men, as this was pointe class. I took a furtive look around, and noticed a few curious glances into my direction. I felt oddly out of place in my jeans, as I have never been in class where I did not dance myself! I really wanted to be in sweats instead, and join everyone on the floor to do some stretches! It was weird, to say the least. But at the same time fascinating.

Ms. Almi asked me if I had met the teacher before, and since I did not, she introduced me to Barbora Kohoutková (click here for her bio) - guest principal dancer and pointe-teacher for the day. I'm a big fan of Kohoutková, she is one of those rare dancers who makes brilliant technique look both effortless, elegant and soulful. So you can imagine that I was a little star-struck.. Thankfully, I managed to utter something about how happy I was that I got to observe her class. Ms. Almi then introduced me to the dancers, saying how she had given notice of my visit earlier and that I was the one who writes several ballet-blogs. I just said hi and gave a big wave. Sudden onset of the shy, again! But, class was about to start anyway. The dancers limbering up for the first exercise, and the the charming pianist, Dmitri Pavlov, ready to play some inspirational music. And me sitting in the corner, all eyes and ears, notebook in hand!

To be continued..


This "Behind the Scenes at Finnish National Ballet" -serial would not have been possible without the interest and help of quite a few awesome people! Thanks go to the lovely Mira Ollila (soloist at FNB), the friendly Press Office, the Artistic Director Kenneth Greve (for giving permission to observe company class), and finally to all the dancers who were happy enough to answer my many questions!

It Never Gets Easier, You Just Get Better

As we work our dancer's asses off and advance technically, class gets more difficult in proportion. Basically, you never get a break! As soon as you get comfortable, new steps and choreography mess with your head and feet. And once you get that right, you realise that even your basics are not without flaws.. It's a constant roller-coaster ride, and not the first time I've used that metaphor.

But you do get better. How do you know? Look back to when you started at point zero. Did you know about pliés and degagés and pirouettes and pas de chats? Nope, didn't think so. If that's not enough to convince you, take a class that is one level below your current comfort zone. Steps that you deemed too difficult back then are most likely now part of your regular repertoire! Assuming of course that you have been paying attention and working your butt off.. ;) Even if you are the most self-critical dancer you should be able to see some progress. Allow yourself to revel in this fact, at least once in a while. Then get back to work!

Before you do, go check out 4dancers great website. This month the focus is on the adult ballet student, and yours truly is featured as well. You can find my interview here: Adult Ballet Student. Be sure to read the other interviews too, they are all inspirational adult dancers!

But before you do that, I have to share some awesome news with you. I'm going to the Finnish National Ballet's company class tomorrow morning! Barbora Kohoutková is teaching pointe class, and I get to observe, take notes and write all about it! It's going to be my first installment of a new serial "Behind the Scenes", featuring dancers (and pointe shoes) of the 90 years old Finnish National Ballet. Be sure to check out the video below, it's a fun and multilingual birthday greeting from a very international company!