The Light


Perhaps the realm of the real is a vision every soul must see in each grain of sand where a mind can unconsciously communicate lies to itself alone.

Till an artistic scientist finds a way to preserve a memory with its feeling, a heart remembers what’s perceived, and its quality be far from perfection.

Thus living in the moment is simply greater for others than some, and the hardest thing to teach an artist is how to tell acting from improvisation.

The difference in between acting and improvisation is the knowledge of allowing one’s heart to not know what the mind doesn’t either, and the ability to self-express with another’s expression.

If a dancer ever gets a second chance within, he shall rid of all the technique he had received, and reveal himself in the form of artistry which feels good even when nobody is watching.

Mikhail Baryshnikov & Sergei Polunin

“Dance possesses all the divine properties of intellect”, by Cem Catbas.


Why turn-out?

The answer came from watching a high jumper who jumped the highest backwards.
In a world where every creature which lives on land anatomically bends their knees in the opposite direction of the intended jump; why turn-out?
For two reasons:
1. Turn-out eases the jump upwards from two legs since they both bend outwards. With it, every dancer who wants to do a highest jump in any direction will have the push needed.
2. Classical Ballet pirouette and sissonne-simple are both executed with a knee to the side; therefore turning out provides the best preparation for a jump or turn with one or two legs on sur-le-coup-de-pied or grand-retiré.


Sur le cou-de-pied (also en avant and en arrière)

Literally, it means “on the neck of the foot”.  The working foot is placed on the part of the leg between the base of the calf and the beginning of the ankle, with the heel of the working placed in front of the leg, while the toes point to the back.  The instep (le cou-de-pied in French) of the working foot “hugs” the lower leg and is stopped by both heels on both sides (up and down).  On the accent en avant (in front), the heel of the working leg is placed in front of the leg with the toes pointing to the back.  On the accent en arrière (back), the heel of the working leg is placed behind the leg with the toes pointing to the back.




Literally it means “over-under” when a dancer rises up onto pointe or three-quarter pointe (relevé) with the toes touching the other foot’s toes and the heel touching the other heel, crossed in a particularly tight fifth position.  It is the foundation of every beat in the air.  Sus-sous is believed to be a term of the Cecchetti school.



Sabre-saut (Saber-jump)

A term of the Russian and French schools indicating sus-sous in the air like a shape of a slightly bent saber sword.  It is a sudden spring or jump from both feet (with the possibility of traveling) during which the legs are crossed in a particularly tight fifth position landing on both feet in the same position as they started.



Sissonne-simple (Simple-sissonne)

It is a jump done from two feet landing onto one foot in sur le cou-de-pied en avant or en arrière.



Changement (Entre-chat-deux in Cecchetti Style)

Literally it means “changing”, a jump in which the feet change positions in the air.  For instance, begin in fifth position with the right foot in front, plié (bend the knees) and jump, switch the right to the back, and land with the left foot in front onto fifth position.  The term petit-changement-de-pieds would mean smaller changement where the feet barely leave the floor.




In essence it is sabre-saut and  sissonne done together.  It is a royale jump if after beating with a sabre-saut in the air, the legs are opened before landing onto either two or one leg.




A step of beating in which the dancer jumps into the air and rapidly crosses slightly bent legs before and behind making it a movement in between sabre-saut and saut-de-chat.  Although Cecchetti changement is still executed in this manner, for any other beat that still carries the entre-chat term such as entre-chat-quatre (the legs change direction twice), the legs are kept straight in the air.  Even numbers end to fifth position, odd numbers end to sur le cou-de-pied in front or back.




Literally, it means “the jump of the cat”.  The dancer while in mid-air, bends both legs up (two retirés) bringing the feet up as high as possible, with knees apart sideways forming a diamond shape.














If there shall be any truth to our sentience

It must end the shapeless and feeling-less

Set two souls on fire with every sweet kiss

Make seem what hearts desire shadow-less

One and only love spoken through both lips

A warm breeze with wings hugging arm-less


You Needed Me.


I am born with most beautiful strange dolor

Which breaks out now and then as a dancer

Who cares about that outside temperature?

When heart and soul are all in an adventure

Hermes’ Voyage.


The moment thou performed thy art

With the true knowledge of thy heart

Would undoubtedly be the dayspring

Wherein one transcended everything

Ever known to the minds of mankind

Make Someone Happy.



“Dance is the sanctuary of a unique cognitive nexus in the human soul where the body refines and improves science and all arts”, by Cem Catbas.


Dance to sing

Sing to pray

Pray to heal

Heal to live

Live to give

Give to love

And love to fly…

Mercedes in Don Quixote.


If it was not for Cupid’s unforeseen passion

Beauty should have to remain often hidden

A red rose would be worth nothing unless in

The clasped hands of beloved and the loving

Love dances as an emotion the most apparent

But there are lots more novels written about it

Than any other mysterious or rigorous subject

By charmers who convey signs of some intellect

Maybe it is not an utterly satisfying feeling yet

Rather the kind whence heart and soul benefit


Evgenia Obraztsova as Cupid, Mariinsky Ballet.