Ballet and Law: a pas de deux

In November 2020 I was awarded the Level 3 Certificate in Vocational Graded Examination in Dance: Intermediate Modern Theatre with DISTINCTION by the Imperial Society of Teachers of Dancing. Modern Theatre is a rhythmic dance style that incorporates jazz, lyrical, and contemporary dance, making it diverse and ever-evolving.

While in my third year in law school, I took on the challenge of balancing my studies with teaching classical ballet, contemporary dance, and music and movement at Horotaxio in Komotini. My students ranged from 3.5 to 12 years old. 

Being a dance teacher, especially for children, is a great responsibility and an important part of a child's upbringing. My focus as a teacher was to instill in my students a love for dance by teaching them basic vocabulary-steps, technique, and arm and leg positions. I emphasized the importance of strong posture, control, coordination, use of space, and musicality while challenging their creativity and imagination with improvisation exercises. 

To further engage my students and make their experience more enjoyable, I implemented the following projects: An Open Class for parents at Christmas, where the parents could see their children's progress in class. I also created a Valentine's wall with heart-shaped post-its where my students wrote why they loved to dance. After that year, my Valentine's wall became an annual tradition (and a small reminder of my time there). To add a touch of fun, I organized a Halloween and carnival week and students were allowed to dress up and have a blast. These projects allowed students to express their creativity and imagination while learning and having fun at the same time. 

One of the most memorable moments of my time at Horotaxio was when a 4.5-year-old student gave me a wooden keychain engraved with the words "with love to the best ballet teacher." It has stayed with me to this day as a sweet reminder. 

My time as a ballet teacher at Horotaxio was one of the most creative and fulfilling. Time management and organization, patience, and determination were important skills to balance my responsibilities as both a ballet teacher and a law student. 

Overall, it was a magical time, which I truly cherish. I am grateful to Julie Ioannidou, the Director of Horotaxio for the opportunity to be part of its team and to my students, and for the memories that have stayed with me. I believe that being a teacher, especially in the arts, is one of the most rewarding professions, and I am proud of being a part of it as well as the creative projects and initiatives I was able to bring to life.

As the school year came to a close, my students and I showcased our hard work and progress in a dance performance. Directed and choreographed by Julie Ioannidou and me, the show was based on the book "The secret lives of princesses" by Philip Lessermeyer.

In the performance, we explored the world of lesser-known princesses, those who have been lost to time and forgotten. The book served as a guide for our journey, and through dance, we brought these forgotten stories to life. Our audience was taken on a magical journey through the candy queen's palace, flew on the wings of vibrant royal birds around the kingdom, and finally ended up in the enchanted forest. 

The performance was a testament to the creativity and imagination that my students and I shared. It showcased the beauty and grace of ballet and a celebration of the hard work and dedication of all who took part in the production. Incorporating classic music from Disney films, as well as traditional ballet repertory and character dance moves, the performance was a journey through the history of dance. Discovering Repertoire offered a unique opportunity for our students to learn the fundamental steps and dances of 19th Century Classical Ballet. Character Dance, hailing from European national and folk dance traditions, was a lively and celebratory aspect of the performance, showcasing the students' exposure to different cultures and styles. 

By presenting these overlooked princesses and celebrating their differences, the performance also empowered girls to embrace their individuality and challenged conventional princess stereotypes. It encouraged the audience to look beyond the traditional fairy tale narrative and celebrate the diversity of female characters. This celebration of individuality and empowerment was the creative ratio on which I focused. 

I am grateful for the opportunity to have directed and participated in this performance, and I will always look back on it as a highlight of my time as a ballet teacher. 

Babàe : [noun] woman; women; lady; female. 

"In a void between time and space, 11 babàe present the simplicity of female nature. The simple, abstract woman, without drama and sensationalism, never stops looking for the light. Oppressed by social standards and social norms, she rebels by revealing her dynamism through her weaknesses. The fairy tale has no dragon; it comes to life under the light of the shadows and absorbs us into its pages. Life is transitory, the light fades and the shadow sometimes disappears".*[*Excerpt from the program]

The performance of Babàe was a celebration of women, their nature, and their journey. Directed and choreographed by Julie Ioannidou, the performance was created through a collaborative effort of 11 female dancers. Babàe explored the position of women in society and aimed to highlight the simplicity and diversity of female nature. 

Surrounded by the musical works of Anne Germanique, John Cage and Laurie Anderson Babàe communicated powerful messages through movement and dance theater. The performance highlighted the female body, with the goal of shattering society's image of symmetry and harmony and expectations of beauty. Babàe captured the truth of everyday life, including the anger, feelings, needs, and worries of women. It served as a powerful scream, illuminating the different sides of women, including their darkness, but ultimately portraying the woman as someone who chases the light. 

I am grateful to each one of the Horotaxio Team: A. Athanasiadou, R. Diamantoudi, T. Evangelou, K. Kazakou, E. Kastanou, S. Lekka, L. Maleska, E. Rigopoulou, D. Papoutsa, E. Tsilika. and our choreographer J. Ioannidou. The experience of creating this performance together was truly more rewarding than the final piece itself. This shared journey will always be a special memory for me. Spending countless hours together, crafting our story through movement, dance, and light, was truly an unforgettable experience.

I will never forget the late nights in the studio, and the energy and passion we brought to each rehearsal. Our phrase, "last one, please turn off the lights." Although the lights may have been turned off in the studio for this performance, the light of Babàe will never be turned off inside my heart.  

"Welcome to the Sleeping Circus! In the circus, everything seems real and believable..but it is not. Everything takes place under one big "fantasy tent" and lasts a lifetime. In essence, everything is plastic and not real. It is an illusion created by ourselves. Our circus has the ability to change forms! Within it, you can build or destroy, love or hate, compete or cooperate. Under its colorful canopy, all possible combinations and all realities are present in its every moment. But ultimately, you are the ones who choose what its possible form will be."* [*Excerpt from the program]

Julie Ioannidou, director of Horotaxio, used the concept of the circus as a metaphor for life and its many different forms and realities. The performance explored the idea that life is an illusion that we create ourselves, and it is up to us to form what shape it takes. The setting, an outdoor park in Komotini, added an extra layer of magic to the already captivating performance. 

Our final piece, a choreography to the song "The Song of the Stars" by Dead Can Dance in 1997, was inspired by the performances of the renowned German choreographer Pina Bausch. The lyrics of the song express the idea of being a guiding light, a source of inspiration, and a voice that creates a path for the spirit to follow. The Algonquian Indian language in the lyrics added to the ethereal atmosphere, creating a surreal and dreamlike world on stage. As we swayed to the beat of the drums, it felt like we became the embodiment of the song's message, illuminating the stage and leading the audience on a journey to the world of magic that was being created through Sleeping Circus. The choreography was a fitting conclusion. 

Every performance leaves a tense feeling, but Sleeping Circus was especially impactful to me. Julie's creative vision and the ability to bring these concepts to life through dance were truly inspiring. Her passion for dance and performance is evident in every movement, and I feel honored to have been a part of it. Sleeping circus will stay with me forever. 

I am honored to have been awarded the RAD Level 3 Certificate in Vocational Graded Examination in Dance: Intermediate (Ballet) with MERIT. 

As a member of the Royal Academy of Dance, a renowned world leader in dance education and training, I have had the privilege of being part of a global community of over 400,000 students and dancers who are passionate about the transformative power of dance. With a lifelong commitment to ballet, starting at the age of 6, and having completed all the RAD-graded exams, I have grown up deeply connected to this art form. The RAD Intermediate certificate is widely accepted as a benchmark of achievement in the field of dance, and through its focus on creativity and musicality, it has motivated and rewarded me in my pursuit of excellence in ballet. 

I am incredibly dedicated and grateful to my teachers Margo Perdiki and Demi Archontaki, who have played a pivotal role in my growth as a dancer and a person. This achievement is a testament to their unwavering guidance and support.