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introduction<br />
This book is really a love letter. It’s my soul’s au<strong>to</strong>biography—a weaving <strong>to</strong>gether of my personal<br />
discoveries, a tapestry of every healing movement that has changed <strong>and</strong> continues <strong>to</strong> transform my life<br />
—<strong>and</strong> the program I developed <strong>to</strong> share this gift with you.<br />
As a professional ballet dancer, I spent years of my life treating my body like a performance <strong>to</strong>ol,<br />
pushing myself past every conceivable physical limit. On stage, I was ethereal, powerful, magnetic.<br />
At times, I even felt superhuman. I cherished the thrill, the sheer elation that swelled inside me when<br />
the curtain went up, the honest sweat that soaked my costume from the exacting effort necessary <strong>to</strong><br />
make the nearly impossible appear effortless. When I filled the stage with something beautiful, I was<br />
completely fulfilled. And when the last note sounded <strong>and</strong> everything went dark, I wanted more.<br />
Dancing was the only thing that could magically take all the “stuff” inside—my brain’s incessant<br />
chatter, the worry, the regret, the stress—<strong>and</strong> purify it, burn it all clean. Left in its place was a feeling<br />
of rebirth, an incredible lightness of being <strong>and</strong> a deep satisfaction in my soul.<br />
And yet, right alongside this unutterable joy, I also felt incredible pain <strong>and</strong> anguish. Behind the<br />
velvet curtain, grueling, hours-long practices <strong>and</strong> bloody feet were the norm. The more it hurt, the<br />
more I suffered, the better, because it was a palpable sign that I was working hard <strong>to</strong>ward my goal.<br />
This <strong>to</strong>tal dedication “at all costs” was reinforced by my ballet masters <strong>and</strong> mistresses (even ballet<br />
terminology speaks <strong>to</strong> domination). It seemed I was doomed, like Moira Shearer, a slave <strong>to</strong> the dance<br />
in the movie The Red Shoes, <strong>to</strong> love a profession that dem<strong>and</strong>ed I be its prisoner—trapped in front of<br />
the mirror for hours, day after day, my innocent, earnest young body constantly scrutinized through the<br />
warped <strong>and</strong> critical lens of my teachers. I can still hear the sharp echo of their voices: “Not strong<br />
enough,” “Not fast enough,” “Not thin enough,” “Not pretty enough.” In reality, I was all those things<br />
<strong>and</strong> more. But because I was fed by a constant stream of negative projections, it’s no wonder I<br />
couldn’t see it.<br />
In spite of it all, I lived for it, because performing was my salvation <strong>and</strong> my greatest joy. As soon<br />
as I heard the magic words, “Places, please!” <strong>and</strong> felt the quiet beat before the stage lights went up—<br />
so bright they literally blinded me—none of it mattered. Not the packed theater, the critics, the<br />
hundreds of pairs of watchful eyes in front of me. No longer the dancer, I was the dance. I was the<br />
flow. I wasn’t just in the zone; I was no longer of this world. The moment I stepped on stage, I had<br />
wings. I was a prisoner no more. I was beautiful. I was transcendent. I was free.<br />
When I danced, gratitude rushed through the river of my soul, overflowing its banks, sweeping