The Embodied Threads Ballet Series is a developmental movement curriculum that bridges classical ballet training with the study of consciousness and creativity.
It draws from my Gravity of Consciousness and Schema as Gravity frameworks, which view the body as both an instrument of perception and a map of the mind. In this approach, dance becomes a method of integration—uniting thought, emotion, and movement into coherent expression.
For young dancers, these practices preserve the innate spark of creativity while building a strong classical foundation rooted in the Vaganova technique. Through story, imagery, and musical play, children learn how form and imagination coexist—how discipline can nurture, rather than diminish, wonder.
For older students, Embodied Threads Ballet expands this foundation into character development, emotional phrasing, and mindful technique. Each class becomes a laboratory for presence: how attention shapes embodiment, how movement patterns reflect inner states, and how the nervous system learns coherence through rhythm and form.
The goal is a dancer who not only understands line and form, but who moves from awareness—a living expression of consciousness in motion.
Embodied Threads Curriculum Overview
A Devotional Ballet Curriculum for Young Dancers
A movement practice designed to be felt, not just performed.
Embodied Threads is one of the core offerings of Infinite Threads, created for students and teachers seeking a deeper relationship to dance. This curriculum lives at the intersection of classical ballet, somatic awareness, and child-centered artistry.
Unlike traditional syllabi, Embodied Threads offers a framework, not a formula. It's meant to be paired with a classical ballet class, functioning like a kind of daily devotion that cultivates:
Creativity
Musical fluency
Emotional presence
Earth connection
Lifelong embodiment
I believe the barre is not just a tool for strength, but a threshold that pushes us beyond our limits. A place to arrive in your body, in your breath, and the moment.
✧ Curriculum Breakdown
Ages 3–4 Early Creative Dance Rhythm, joy, storytelling through movement
Ages 5–6 Ballet Foundations: I Pattern, posture, musical mimicry
Ages 6–7 Ballet Foundations II (A)Simple phrasing, embodied repetition
Ages 8–9 Ballet Foundations II (B)Vocabulary naming, basic port de bras awareness
Ages 9–10 Ballet Foundations III (A)Transitional technique, early improvisation
Ages 11–12 Ballet Foundations III (B)Artistic phrasing, more complex flow
Ages 12–15 Intermediate Flow Ballet Integration of technique with musical artistry
Ages 12+Advanced Flow Technique: Personal interpretation, somatic refinement
✧ Class placement is based on readiness, not rigid age categories.
✧ Every level includes space for teacher voice and student expression.
Where Technique Meets Soul
In ballet, technique is often revered as the pinnacle of achievement, characterized by clean lines, turned-out legs, and precise execution. But technique alone is a container, a shape. With Embodied Threads, we honor that shape, but we are here for the thread.
The thread is presence. It’s the living pulse of the dancer’s inner world, expressed through breath, sensation, and story. It is what moves us from performer to artist, from student to self. My own journey began like many children’s: I loved to move, to tell stories. I wasn’t perfect, but I felt the music in my bones. I was intuitively good at it, not because I had ideal turnout or high extensions, but because when I danced, I disappeared into something deeper. I was channeling presence. I didn’t have language for it then, but I knew I had found something sacred. Embodied Threads is my way of passing that knowing on.
The technical foundation is primarily rooted in the Vaganova method, chosen for its developmental clarity, expressive flow, and depth of tradition. However, we also acknowledge the fluid nature of dance education in the United States, where many students transition between various methods, including Cecchetti, RAD, and Balanchine. Our goal is to cultivate stylistic fluency—to raise dancers who can adapt across traditions while staying rooted in their own artistry.
What I teach is more than steps.
I pull children out of their heads and back into their bodies, so they can move not just with precision, but with feeling. So they can learn not just how to perform, but how to express. So they can stay connected to the spark that made them dance in the first place.
Because that spark is that creative aliveness, and that wide-eyed wonder, isn’t meant to burn out as they grow older. It’s meant to be tended, protected, and carried into adulthood. Into art, yes—but also into life. Into how they speak, connect, create, and become.
Whether or not they go on to be ballerinas isn’t the point. What matters is that they become wholly themselves.