BALLET ARCHIVE
The ballerina's electrical dynamism and musical phrasing create her Venus Signature
Before I ever described the zodiac as an electromagnetic torus, my body was already practicing electrodynamics through ballet. The studio was my first magnetosphere — a chamber where axis, spiral, and extension revealed themselves as living forces through sensation. Breath became voltage, muscles became current pathways, and movement became the visible trace of an invisible field. Every plié was a charge‑compression cycle; every relevé a vertical voltage rise; every pirouette a demonstration of rotational charge coherence around a living axis. Adagio became slow‑wave solar induction; allegro became rapid flare and re‑uptake; grand jeté became the brief flight of a particle across a magnetic arc. Even the subtle turn of the shoulders — épaulement — redirected the field with the same elegant asymmetry found in solar wind patterns. Ballet trained my body to artfully express a charged toroidal system.
Classical technique is, in essence, an electromagnetic discipline. The spine functions as the central conductor, the limbs as radial charge vectors, and the breath as the oscillating medium that modulates amplitude and frequency. Adagio teaches slow‑wave charge distribution; allegro teaches rapid discharge and re‑uptake; grand jeté teaches the physics of ballistic current projection across space. Even épaulement becomes a deliberate magnetic asymmetry, creating directional flow and torque within the field.
This archive gathers the photographs, performances, and transmissions from the years when my body first learned to sense, store, circulate, and radiate energy. It traces the teachers who refined my field like master calibrators, the variations that taught my body to hold charge under rotation, and the stages whose lights acted like solar inputs amplifying my inner voltage. Long before Magnetic Astrology™ emerged, ballet taught me the language of luminosity — how a human field gathers power, circulates beauty, and releases it into the world.
Origins of the Field (1973–1980)
My ballet life began as a Venusian inheritance — a lineage of women whose bodies already understood the geometry of grace.
My mother, a dancer of the St. Louis Municipal Opera who had also taught in Manila, introduced me to the first five classical positions of ballet when I was age five. When I was 8, I watched her take classes with David Howard and Igor Youskevitch, absorbing their kinetic intelligence through the atmosphere of the studio.
My mother at age 18 in 1962
My early training unfolded through a magnetic corridor of influences:
Coral Gables with Martha Mahr, who whispered: “Dance as though you are a butterfly.” The Fokine Ballet School and Camp, where Christine Fokine and Francis Patrelle recognized my spark and encouraged me after School of American Ballet’s rejection.
These formative years seeded my devotion to romantic music, mythology, and the archetypal Venusian current that later shaped my cosmological work.
The American Ballet Theatre School Years — Formation in the Solar Furnace (1980–1983)
At age ten, I was accepted into the American Ballet Theatre School despite flat feet. By twelve, the Director, Patricia Wilde, awarded me a full merit scholarship.
My teachers at the ABT School formed a constellation of masters:
Leon Danielian
Roy Fernandez
Practicing in 1978 as an ABT scholarship student, age 11
Practicing Kitri's Solo Variation at ABT School
I performed children’s roles with ABT at the Metropolitan Opera House, absorbing the backstage auric charge of the world’s greatest dancers. When ABT School destabilized and relocated, I entered a liminal period that opened a new trajectory.
Practicing Giselle Act II at ABT School
Practicing Other Dances as an ABT student at Studios on 83rd & Broadway, NYC, 1980
Practicing at in my home dance studio at age 13
Manhattan Pilgrimage — Self‑Directed Mastery (1981–1983)
My training evolved into a toroidal orbit through New York’s finest studios:
Rehearsing with David Howard — midtown Manhattan, 1982
Maestro Hector Zaraspe, took me under his wing, teaching me castanets, Spanish fan technique, and polishing my classical variations:
Raymonda Act III, Coppélia Act III,
Esmeralda Tambourine Variation, Kitri Act III (Don Quixote), Aurora Act III (Sleeping Beauty).
The Vocalise Pas de Deux — A Choreographic Initiation
For my contemporary 2nd round performance at the II International Ballet Competition in Jackson, Mississippi, Zaraspe choreographed a bespoke pas de deux to Rachmaninoff’s Vocalise. The work functioned as a field‑attunement, crafted to reveal my magnetic line and lyrical voltage.
In 1982, at home in NYC, with Hector Zaraspe, before the Jackson Mississippi International Ballet Competition.
Master Encounters — The Venusian Initiations
Master Teacher Robert Joffrey, invited me to attend his private intensive workshop in San Antonio, Texas, 1982
Russian prima ballerina assoluta, Natalia Makarova coached me in Raymonda Act III and the Mazurka from Other Dances, a Jerome Robbins creation gifted to her as a wedding blessing.
These encounters crystallized my artistic field.
Natalia Makarova's personally signed autograph
Professional Emergence — Ballet Zürich (1983)
At fifteen, I became the youngest corps de ballet member of Ballet Zürich. Under the direction of Rudolf Nureyev, I performed on major world stages:
The Metropolitan Opera House
The Kennedy Center
The Auditorium Theatre
I toured in Rudolf Nureyev’s productions of Don Quixote and Manfred, and my backstage photograph with him at the Kennedy Center marks the moment my field stepped fully into its professional architecture.
Backstage with Rudolf Nureyev after a performance of Manfred — Kennedy Center, 1983
The Lens as a Second Stage — Dance Photography
My artistic life continued through the camera — another form of field perception.
I became internationally licensed with Getty Images and Avanti Greeting Cards and created portfolios for students accepted into:
The Kirov Ballet Academy
The Gelsey Kirkland Academy of Classical Ballet
Vivi’s Ballerina Dream (2010)
My 2010 photographic series became the 2012 campaign for Dancers Love Dogs, supporting over 30,000 rescued dogs across South Africa.
The series features the pointe shoes Gelsey Kirkland wore in her 1976 performance of La Sylphide — the shoes she gifted me backstage, with tears, when I was a child.
A gift that continues to radiate outward.
Vivi’s Ballerina Dream — signature image from the series
The arc of my ballet memory speaks to my field. A continuum of practicing and performing shaped what followed. Each studio, stage, and photograph taken would later beome a vector in the toroidal system of Magnetic Astrology™. What began as devotion to music and movement evolved into a study of coherence, luminosity, and energetic structure.
This archive preserves the young buds of my earlier field — the kinetic, emotional, and electromagnetic insights that inspired my cosmology today. Ballet was the first language my body spoke fluently, and its memory will always inform the way I sense, interpret, and shape the world.