Is it Show-Time Already?

Nothing has been confirmed yet, but looks like we're going to reprise our Don Quixote -inspired dance for the school's xmas show! Yay! Now it just depends on whether we get enough of our original cast together. It's always tricky with us adults, especially right before the holidays. We have to be able to commit to additional rehearsals, and be free to dance just two days before all of Finland retreats home to spend Christmas. I know some of our "corps" has travel plans, while a few others are no longer at our school (or even in the same country). I'm keeping my fingers crossed that we get to go back on stage - I have really missed the experience!

I also hope to dance and perform better than I did last time. (Read the re-cap from our spring performance here: Ballerina for a Day.) Our teacher has already given us pre-rehearsal preparation to do: we have to rewatch the video from the spring show and rememorize our steps and positions. I remember being much too nervous to enjoy my entrance, and it shows. My piqué attitudes look like a dog trying to take a leak. It still makes me cringe, but not so bad that I can't make a joke about it! This much I've learned from my very few performing opportunities: there's always something you could have done better (and did do better in rehearsals). You might sail through the most difficult part and then screw up the easiest steps. It happens, shit happens. But as long as you keep going, it doesn't really matter. The audience wants to see you do well and have a good time on stage. You want the audience to enjoy your dance. It's a win-win situation, even if you should fall on your butt. Which I haven't done yet. Phew..

My attitudes are not the only thing that I look forward to make over. Watching that video, I keep wondering: where's my smile? I need to smile! Show some teeth! True, it's hard to flash a genuine smile when you're nervous and trying not to mess up the steps.. But maybe if I just fake it at first, it becomes natural as I dance along? I also need to work on my épaulement, it's still too "ballet class" and not enough Don Q. Gawd, the list of repairs doesn't end there. Must have a snappier head while spotting chaînés deboulés, and prettier arms when jumping. And please, not forget to point toes and stretch knees! And it wouldn't hurt to wear more eye make-up. Now, I know very well it's not going to be perfect next time around. I might have the best attitudes ever, and then be disappointed with my final grand jeté. But that's the beauty of a live one-chance-only performance. Even when you know the steps and counts, you never know at what precise moment the magic happens.

Pointes from the Postman

Oops, I did it again. That is, I waited until the last class to get new pointe shoes - only to find out that my size was not in stock at my local store! My plan B (out-of-town friend with access to another store) didn't work out either, and I was looking at two more very long weeks of dancing in dying-dead shoes.. You know there's no joy in there. That's why I did another online research on dance wear shops within the EU, to find out if I could possibly get my shoes sooner, and for a reasonable price. And I did!

My pointe shoes are from Bloch: Balance European (in size 6 XX). Here in Finland they cost about 60 Euros (75 USD / 45 GBP). At my current rate of two pointe classes per week, I need to replace shoes about every 10-12 weeks. I have never shellaced or glued my pointes before, but I'm going to do a trial with my new pair. That should buy me a few weeks extra usage. I'm also thinking of getting an extra pair, so I can switch my shoes from class to class. Pointes should be aired at least 36 hours between each use, for the glue to re-harden.

The first shops I checked online were Dance Direct and Porselli, but neither carries my model in their selection. Stores outside of the EU are not really an option for me, as shipping costs are too pricey - and you have to pay duty charges. I knew I could buy Blochs directly from Bloch UK, but they charge a whopping 19,95 £ for delivery to Finland. Even if the shoes themselves cost less there than here, I would need to order at least two pairs as not to exceed 60 € / pair. I did manage to find my model and size at Planet Dance, for 34.95 + 9.95 £ shipping, which would cost the same as buying them locally. I almost made an order, but then I googled some more.. and stumbled across Lazy Dancer (click here: Lazy Dancer).

Not only do they carry my Blochs, but the price is almost half of what I pay here! Darlings, for someone who's living and dancing on a very small budget, it's like striking gold. I was of course suspicious at first, and checked out all the details, terms and conditions, and contacts. I even sent an e-mail, just to let them know that I was interested in making an order. Turns out the store is a small but established family business in Athens, Greece - and everyone has a background in ballet. After I checked the payment system for security, I felt assured enough to place my order. I paid 35.10 €, shipping included.

Just one week later the postman rang and delivered my new pointe shoes. The shoes were in pristine shape, if you don't count tiny penciled markings on the inside for ribbon placements. The satin was new and smooth, and there were no tell-tale signs from over-fitting on previous customers. Normally I do not endorse stores, but I think this one's a pretty good deal. Of course, ordering pointe shoes online works only if you have been fitted before, and know your brand, model and size. You also have to take into account that there might be some small variation from one pair to the other.

I got my pointes this Monday, did some fast sewing (new shoes, old ribbons) and wore them to class the next day. What a relief, never mind that new shoes are always hard on you. Sure beats dancing in dead pointes! Anyway, by the time we got to center practice, I had already made friends with my shoes. Hope we're going to have a good time..

6.11.2011 EDIT: Since I ordered my shoes, prices have gone up. The same Blochs I bought for 35.10 €, cost now 42.00 Euros. Either Lazy Dancer started with low prices to get the business started, or they forgot to add VAT on the purchase price. I'm a bit annoyed that I didn't get to buy more with the "old price", but even the new prices are still a deal - at least for pointe shoes. But there's another problem which I find more troubling: the online shop hasn't been working. I've tried to purchase new flatties since the 2nd of November, but the shop won't let me add anything to the shopping cart. If I try to access my account, the entire site goes off-line. Five days later, and still it doesn't work. I have sent two messages to Lazy Dancer, and I'm waiting for the problem to get fixed.

Change is Good

A fitting t-shirt for ballet class, don't you think?

It's happened again. My pirouettes have gone haywire. The moment I go up, I loose it. It's the weirdest thing - and seriously annoying. With all my years in dance, I should be able to pull off consistent double pirouettes, right? But I do have an idea why my turns have become deranged. It's like my system operations have been updated, but those darn pirouettes are still running on an old app. Seriously, I have been getting so many corrections, that my brain is frizzing out trying to implement new alignments and dynamics. And since I can't really re-boot myself, I'll just have to accept that turning is going to be rocky roads for a while.

It's again about quality, not quantity. My teacher doesn't care for "dirty triples" (neither do I). What she wants to see is clean, elegant, refined dancing. The very thing that defines classical ballet. For my turns this means paying attention to the turning pose, specifically my en dehors and heel-toe alignment. There is still a slight tendency to sickle the foot in passé retiré, making the dreaded banana shape. I have been working on this for the past two years, and it's definitely gotten better. My teacher keeps a close eye, and she's not just pushing for a correct position, but for my maximum best. This is not limited to pirouettes alone, but to every other step and movement.

It's not easy to change ingrained habits. Especially not in ballet. I'm not going to say that I was a poor dancer before, but there was more room for improvement than I even thought possible. I'm talking about the basics: pliés and degagés, turn-out, placing toes above knees, stretching your knees to the max, pointing the toes, forwarding heels, keeping the shoulders down (and the popo), the back and neck long, the hips in line, and the list goes on.. Ballet is hard, but the choice is mine. I could continue dancing the same way I have done for umpteenth years, and have a fairly good time. Or, I accept that change doesn't come easy, that it can be frustratingly slow work - but it will make me a better dancer.

Yesterday I was feeling a little shitty, with my pirouettes all over the place and a general and persistent feeling of insecurity. After class I had a talk with my teacher, and she pretty much confirmed what I had been suspecting already: I'm trying so hard to make all the required adjustments that it's throwing me off balance. In other words, now that I'm aware of what I should be doing, it's messing with my old way of doing, well, basically everything. But whereas I thought that I'm just not getting it, Madame informed me that it's perfectly normal to feel this way right now. Then she told me that I have improved a great deal in the past years, that I'm doing really good work - and that I should be proud of myself! Can you imagine what it felt like hearing those words? I swear I grew an inch right there and then.

Toe Woe

I don't think it could have hurt more if someone had drilled a nail through my big toe. Not your regular ouchy aprés-pointe toes, but unrelenting and sharp throbbing pain. Some of you may already guess what I'm talking about: the dreaded ingrown nail resulting in nail bed inflammation. Which is not all that rare among ballet dancers. There are of course ways to prevent this, like trimming your nails in a straight line across the top. Also, you can avoid wearing shoes that squeeze your toes tightly together. Pointe shoes do probably not fall into this category.. My problem is that my nails don't lie flat on their bed, but are somewhat curved (like the rest of my body). It's not the tip of the nail which tends to dig in, but the bit under the inside corner. So far, only the left one has been affected and never before this badly. What gives?

I suspect part of it was my fault. I had gotten used to the sometime discomfort because it's limited to movements which have the side of my toe pressing into the floor, like doing a degagé to the back. It's annoying but you move on. I should have been alarmed when my usual soft slippers started to press painfully on my toe, but you get used to that too. I remember when I was on this cross-country ski camp way back in school, and had just had a small growth spurt. My ski boots were about half a size too small, but I took to the lopes anyway. The shoes rubbed my heels raw, the blood soaking all the way through the leather - but I finished my 10k just the same. Give up? No way. So I've got a high treshold for pain, and a very stubborn streak. Great combo for pointe, as long as you know your limits! Last Tuesday I could have switched into soft shoes, but no, I had to finish class in pointe shoes - full out. Did I mention that those shoes are on the brink of death and my big toe banging the floor up on relevé? Acknowledging pain is not the same as being a wuss.

When I went home after that class, I was still okay. But instead of the ouch fading away, it got worse. I took a maximum dose of paracetamol, but to no effect. Could not sleep because of the constant drilling pain. Watched old episodes of The Nanny until 4 am. The next day I was still in pain and miserable. My left big toe reddish and swollen at the inside edge of the nail bed. I had to get out of the house, but putting on shoes and walking: no fun at all. Fortunately my dancing doctor friend came to the rescue. I went to see her later that day for a consult. The bad news: the toe's nail bed was inflamed. The good news: it could have been worse. Antibiotic cream twice a day and it should get better soon. After having googled partial nail removements, I was very much relieved.

After the initial medical care, I was given the full consolation treatment: some lovely Italian Valpolicella which we drank while watching a POB master class on DVD. This was followed by an impromptu sauna-spa evening and finished off with late night deli snacking. You can't get better health care than this. After three days my toe is already much better. Walking longer distances (in shoes) is still a bit painful, and pointe shoes are obviously out of the question. Which really sucks as our pointe class has just been up-graded from 45 minutes back to a full hour, repertoire included. We are currently practicising Raymonda's big variation. Sigh.. I hope my toe is back in dancing shape by Monday. Hopefully even in pointe shoes next Tuesday.

Ballet Class Outfits: Make Your Own

The first time I made my own cropped top, I recycled an old pair of black leggings - but why stop there? You can find lots of leggings and tights in the sales bin; in colours and textures you would not normally wear. Like these pink lace leggings I just found for 1,85 euros. They look way too much 80's Madonna, but when you cut out the gusset and pull them over your leo - instant fun fashion update!

Tips and tricks:

• Recycle old tights/leggings. Ballet pink or white tights go great under leos for extra coverage & warmth.

• If you customize your top from new tights, don't spend a lot of money. The fabric will snag anyway.

• Don't buy the cheapest quality. Microfiber holds better, as does denier above 40.

• Buy a size (or two) bigger than you would for your legs. Makes for a comfier fit.

• Leggings come with pre-cut hand openings. ;)

• Hipster models are no good, they ride too high up on your torso.

• Necks are easiest to cut when there's a gusset to trace. Turn the tights inside out before you cut.

• Do not cut the neck like you would a cotton t-shirt. The fabric will stretch like crazy.

• Be careful when you pull your top over the first time, it will stretch. And it will snag.

• Hand-wash only.

• Have fun!

Class Outfits: Black and White

Sometimes I like to fall back on the classics. A simple white camisole leo, pale pink tights and a short black tulle skirt. Hair in a neat bun, polished off with hairspray. Classic ballet student. When I took this photo, both flatties and pointe shoes were still new, but they have since earned their class cred. The t-shirt was earned volunteering, but I usually loose any extra layers before barre is over. Too hot! By the way, have you noticed how ballet pink tights turn into a whiter shade of pale? And then look more white grey-ish than "natural" on your legs? Not that pale pink is a natural shade to begin with. Really, what grown-up woman would wear pantyhose in such a shade? But us ballet students do, that is when we are not in black leggings. Which reminds me I need new ones, all my tights have snags and holes. Not so classy..

Ballet Class, The Sequel

You recall how I wrote about having to cut over two thirds of my daily ballet? Even worse, looking at the months ahead, I have been thisclose to cancelling all my classes. As a fellow dancer, can you imagine anything more pathetic? While I've been working at improving my situation, many of you have supported me with helpful advice and sympathetic comments - and I give you my heartfelt thanks. You readers are awesome! Not everyone (outside of ballet) is inclined to understand the need for an adult recreational dancer to dance. I have been told that I will adjust, that twice a week is better than once, that once is better than not at all. That less should still be enough. Of course I can adapt, my life is not going to fall apart if I dance less - but why should I justify my want and need to dance more?

This is the time to dance. I'm still relatively young (dance keeps you that way), I'm in good shape and there are very few responsibilties to restrict my dance schedule. There's even time for other interests and activities. It's almost an ideal situation, and if it weren't for the "almost", I would be one happy dancer indeed. Here's another difference between us hobby dancers and professionals: the pros get paid to dance. Ballet class, rehearsals, performances - just like another day at the office, only not. I could be envious, but I know that being a professional dancer is one the toughest jobs out there. And even though it's hard work, this is rarely reflected in numbers. You're not going to make a lot of money dancing. Why then would anyone want to make a career out of dancing? I suspect it's the same desire that drives us recreational dancers to class after class. Dance is just plain addictive.

Coming down from daily ballet to twice a week has been hard. There have been withdrawal symptoms: restless feet and anxious dreams of missing class and not fitting into my leos or shoes. I have gone walking/jogging when I normally would have been in class, and I have done stretches and some ab work at home. But it's amazing how quickly you notice the difference! In just one month I have gone softer and less limber. Even my teacher recommended I should work out more to compensate for less class time. Yikes. The problem is, I don't really like to exercise. The gym is just not my place to be. Although, if it could be functional training to aid with my dancing.. That would be okay. ;)

NEWS! Since I started writing this (first draft was done a week ago), there has been a new development! I can't go into detail here, but it's safe to say that I don't have to quit dancing, at least for the time being. Even better, I get to dance full-time for the next two months! Daily classes! I don't know yet what happens after that, but right now I feel like I could grand jeté down the street. Which I might just do.

From Boston to Helsinki, with Love

Misa Kuranaga in William Forsythe's The Second Detail.
Photo by Liza Voll-Photography

Mind-blowing, breathtaking and beyond awesome - Boston Ballet came and brought the house down in Helsinki! For real, it was so good I wanted to cry. Jorma Elo is a genius, his Plan to B possibly the best contemporary piece I've ever seen. The choreography is as hard as it gets, and then some - but his dancers deliver - and then some! I'm now officially a fan of the gorgeous Whitney Jensen, and of both Cirios (Jeffrey and Lia). Heck, everyone who came to Finland and danced blew me away. The men were dazzling and strong, crazy with the jumps and turns. The women were powerful, limber and elegant - and equally crazy with the jumps and turns. What also impressed me was how well they all danced together. Such a fantastic ensemble!

The evening started when the Artistic Director of the Finnish National Ballet, Kenneth Greve, stepped in front of the curtain and introduced Mikko Nissinen of Boston Ballet. And here's a curious fact from my life: I have once been in the same ballet class as Greve and in the same class as Nissinen! I kid you not. The latter came to my old school's morning class sometime in the nineties (can't remember the exact year). It was summer, and Nissinen on vacation (he's Finnish, you know). Our 10 am morning classes used to attract a myriad of professional dancers who at the time didn't have access to company class. Anyway, I was fairly new to dance and blissfully ignorant. But I could tell the pro from the amateur, and when Mikko Nissinen took to the floor, you just knew. He was still turning when everybody else had already finished. Amazing control, and handsome too. ;) As for Greve, he once came to our advanced class at my current school. Usually you wouldn't expect the AD of the National Ballet to venture out of his company for class, but his wife Marie-Pierre happens to be our teacher. I have to say, for someone supposedly retired, K. Greve has serious skill! It was a bit distracting to be in the same class, but in a cool way. And he was very unassuming and friendly. Looking at the two directors on stage, it made me wonder how ballet is such a small world that even I could be connected by less than six degrees!

Still have all my old DMs. Should have gotten this signed!

I can only imagine how proud Mikko Nissinen must have felt yesterday. It was the first time that he presented his company Boston Ballet in Finland. You know, Mr. Nissinen was once considered for the AD's position at the Finnish National Ballet. In the end, I think that his management style and strategy came across as bit too tough for local likings. I don't know/remember for sure, except that company dancers have a say in the manner. But I'm glad he found his place in Boston, and he sure has made a success of it. As a fellow Finn, I admit to being a bit proud of his achievements! But there's no company without dancers and no dances without choreographers. And Boston Ballet's program delivered real treats.

First we got to see Christopher Wheeldon's Polyphonia, which struck me as an exciting hommage to Balanchine - whilst coming across as new and inventive. There were acrobatic elements which demanded extreme flexibility and strength, and instantly recognizable classical vocabulary. Both came together like they had never been seperate before. The music by Ligeti was challenging, but the various moods were beautifully illustraded in the dancing. Especially one pas de deux with blue back-light was so intense it made my arm hair stand up. Elo's Plan to B was next, and I already gushed about that. Let me say it again: wow.

Whitney Jensen and Jeffrey Cirio in Jorma Elo's Plan to B.
Photo by Liza Voll-Photography

Among the ensemble pieces we got to see a sole pas de deux choreographed by Helen Pickett, called Tsukiyo. The music was one of my favorite pieces: Spiegel im Spiegel from Arvo Pärt. Coincidentally, Wheeldon has choreographed his ballet After Rain to the same music. It was a lovely and delicate number, but somewhat overshadowed by the rest. The final piece was from Forsythe: Second Detail. Again, very powerful dancing and superb ensemble work, but the music was a bit taxing. Even so, it was one of the best dance nights I have ever experienced. It lifted my spirits and made me want to soar with those amazing dancers on the stage. This is why I love dance so much.

Dancing Along My Trail

You know the old adage about ballet being hard - but I can tell you it's even harder to go without. Staying at home, watching the clock, knowing there's a ballet class about to start that should have my name on it. Which is why I leave the house at the same time, and take refuge on my favorite trail by the shore. At first, my body still feels the rhythm of class, the tendus and pliés like a missing limb. I walk fast and let the sea breeze clear my head. I let the waves wash over fondues and battements, over barre and center. Before I'm half-way, I'm no longer miserable. There's a whole world outside of class, and it has the power to lift my spirits just as much as dance does. As long as I let go - for the time being.

I know I could eventually adapt to a life without dancing. Hey, I never danced for the first 21 years of my life - and those were some good times! Ballet is not my reason for living, and it is not my sole joie de vivre. There are more layers to me than tights and ballet skirts. Having said that, let me tell you this: I'm not going to give up dancing - ever. I can adjust to less class time. It just makes the anticipation for the remaining hours that much sweeter. Almost like waiting for Christmas, week after week. I can accept, albeit grudgingly, that there's going to be a (temporary) setback in my progress. I can live with stiffer muscles and less bounce in my jumps. It's not the best case scenario, but we don't always get what we want.

This has been my first week with seriously less dance. You might wonder why it's such a big deal to me, but the thing is I don't know how temporary this arrangement is. Do I get my old dancing life back next month or next year? But I've done okay. Jogging along my trail, I've let my mind wander freely - something you can't do in class! Funny though, more often than not, my head's been occupied with all things dance. I might think about a correction I got last time - how I should never mark with my hands when doing a pirouette on pointe. Must turn full out, in the correct position. Or I might savour the cool praise I got some weeks ago, about being "powerful". Or how awesome it would be to finally nail a clean triple turn, right in front of Madame... You can take the dancer out of class, but you can't take the class out of the dancer!

This evening it's class time again - and I'm already buzzed about it!

It's a barre - what else are you supposed to do with it?

Less is Not More

I was really looking forward to this dance semester. My dance school is offering daily ballet classes (Mon-Fri) at my own level, with all my favorite teachers. I was planning to continue with my Triple-Tuesdays, with technique classes backed up by pointe and even throw in some extra Sunday ballet at another school. Dance to my heart's content. But, unless current circumstances improve considerably, I'm forced to make drastic cutbacks on my dancing hours. I'll be lucky if I can manage two classes a week. I know it's not the worst case scenario ever, but it still makes me miserable.

We can't always get what we want - it's one of the earliest life lessons learnt. Adult dancers work, study, have families and budgets to balance. And unless you're living in Big City, daily ballet classes for adults are a rarity. You wish for more, but if all else fails, you have to settle for less. I have been here before. Back in my student days, I could barely afford the one weekly dance class. Fortunately, I had a teacher who gave me free classes in exchange for the occasional baby-sitting. And I was okay with less, as there was other stuff to keep me interested, busy and occupied.

It's not like ballet makes up my entire pie of life, it is merely a (very tasty) slice. But I would be lying if I didn't admit to the huge size of it! And it's not like there hasn't been an on-off relationship with ballet before. During the Big Break of 2003-2006 I didn't take a single class. This time around, however, stepping back does not feel right. For one, I'm in great shape and don't want to waste it. There is so much work to do, to learn and to enjoy!

Class Time

One class per week is an introduction, if you are new to ballet. Like nibbling on a bite-sized appetizer. You get a taste, but it's not yet time for the main course. If you have been dancing for a long time, one class per week is a reminder of what you're missing. It's also hard work, no matter what level you're dancing. Even if you stretch and work out, you're never quite ready for class. Arabesques - ouch. Jumps - where did all the ballon go to? But once is still better than never.

Two classes a week is just enough for minimal sustenance. It keeps the systems operational, without loosing bounce or closing the doors on turn-out. There's even the possibilty of progress, especially if you focus on quality. For me, this means working on my projection, on directing the eyes, using the head and presenting myself. I also need to fix the placement of my hips - I have this bad tendency of lifting my hip when the leg goes into retiré for pirouettes. There are of course many other things to think about, but it's easier to work on one correction at the time.

Three classes a week is where you move from maintenance to pushing comfort zones. Muscles start to respond better, strength, coordination and balance keep improving. Even if you haven't danced for long, you see visible progress. It is also the point where many start craving for more. That fourth class is just around the corner..

Four classes a week is where classes become a habit, a way of life. Ballet begins to take presedence over other ways of spending your free time. And you do not mind in the least. On the contrary, it is a joy to keep the motor running and yourself dancing. And your hunger keeps growing. Surely there is room for yet another class?

Five classes a week is where it seems there's no turning back. You're hooked on ballet. For professionals and dancers-in-training it's the minimum amount of class time, for you it's the ultimate in luxury. From five it's the shortest pas to six days and double classes, to obsessing about forwarded heels and attitudes, to thinking you can't live without dance. I have been there. I am here now. Knowing about all the classes I'm going to miss makes me sad. The fact that I don't know when things will get back to "normal" makes me miserable. But two classes a week is not not-dancing, and whining about it doesn't really help. I need to look at this positively. How do I turn less into a little bit more?

Pen on Paper, Foot on Floor

That's me, first day of school.

Looking back to my first day of school, it was not unlike switching from improvised contemporary dance to the discipline of a formal ballet class. But at least for me, school was not the end of freedom. I would roam about Berlin, climbing trees and ignoring fences - and then I would sit still in class, eager to learn and observe. I took to school like I would later take to ballet class.

Back in elementary school, we had classes for handwriting. My generation (and now I feel old for saying it) was still taught looped cursive, which has since become somewhat old-fashioned. We were given specially lined notebooks with three parallel lines for each row instead of a single line. Writing by hand, with ink, took a lot of disciplined practice. It requires hand-eye coordination, dexterity and developing a feel for the paper and pen connection. How much pressure to apply, which way to swing the tip so that ronds de main turn into o's and a's on paper. It was all about getting into the flow.

These days I mostly use keyboards instead of pencils. Compared to the elegant port de bras of cursive handwriting, it is all staccato and petit allegro. But the disciplined practice has not disappeared. Instead of a paper and pen, it has simply changed into feet and a floor. O's have become ronds de jambe, T's and I's degagés and piqués the dots on my i's. It is still a matter of flow, how to caress the floor and present your text/self. Music and choreography provide the framework, the lines in which to move. Letters become words, steps turn into dance. The blank page turns into space, waiting for us to write our stories. And just like our handwriting, each dance and dancer is unique.

I remember when I learned to read, how letters shaped into words that all of a sudden started making sense. It felt like something wonderful had been un-locked. All those words and books and new worlds for me to grasp and make my own! I'm no longer that eager, tree-climbing first-grader, but I'm still a student. Instead of a backpack for books, I carry a bag for my pointe shoes. Learning about arabesques, ballonés and cabrioles has not been unlike learning my ABC's. Ballet class gives me that same feeling of constant discovery and marvel.