Exploring ballet with Suzanne Farrell.

I'll never forget the first day of the Suzanne Farrell workshop in Washington, D.C. I nervously anticipated Ms. Farrell's entrance, awaiting my first glimpse of the world-renowned Balanchine dancer. When she walked into the studio, all voices fell silent, and I watched her intently as she circled the room. Ms. Farrell seemed deep in thought, hardly noticing us. Then she came to a stop in front of the class and proceeded to show us her first combination. As the class progressed, the music grew faster and the steps more advanced, each combination challenging our ability to memorize and interpret the movements. When it seemed impossible to close into a perfect Fifth she would remind us, "Don't forget your Fifth Positions!" Ms. Farrell put meaning into every step we did. Your attitude toward class doesn't begin with the first combination, it begins when you wake up that morning," she told us. "It begins the night before, everything you do sets up your approach toward class."

In addition to the two two-hour technique classes on pointe, six days a week, the curriculum included a variety of excursions. We visited many monuments, museums, and attractions in the Washington, D.C. area. On Sundays we took daylong trips to places such as Baltimore Harbor, Arlington Cemetery, and Mount Vernon. At the Kennedy Center we were treated to a Broadway musical, a live cabaret, and an interactive mystery. We also attended the Smithsonian's anniversary celebration, which included food, fireworks, and a live concert featuring Aretha Franklin and Ray Charles. On one particular outing, Ms. Farrell accompanied us to the National Gallery. We had an assignment: to study a sculpture or a painting, paying special attention to the textures and colors used. We were then asked to choreograph a short piece inspired by what we had seen. My piece was inspired by the bluegreens and soft textures of the impressionists Cezanne, Van Gogh, and Renoir. It was an interesting and challenging assignment that taught me to experience dance in new way.

We were housed in a hotel near the Kennedy Center. Each room was shared by three or four people. On Mondays we went grocery shopping We were responsible for cooking all of our meals, everyday. The rooms included a living room, kitchen, dinning area, bathroom, and bedroom. Our chaperones accompanied us everywhere and stayed with us in the hotel. Classes were held at the Kennedy Center, a fifteen-minute walk from the hotel. There was a one-and-a-half-hour lunch break between classes, and sightseeing and other activities were scheduled after classes. Everything was well organized and supervised, and although we had a busy schedule there was always time to relax, rest, and get to know each other. I met people from all over the country, and although we had a wide variety of backgrounds, experiences, and personalities, we shared a common love for dance.

At San Francisco Ballet school, which I attend the rest of the year, I study with many different teachers, each of whom has unique qualities and personality. The Suzanne Farrell workshop was my first experience concentrating on one style for an extended length of time. In the beginning it seemed almost impossible for me to move with the control or speed demanded by the Balanchine style. Combinations with fast leg, arm, and head coordination were given throughout the barre and center. Ms. Farrell made us recite the combinations aloud as we did them. This was a tremendous help to me in executing the many complicated and quick combinations. Because there were only thirty students in the workshop, each student received individual attention. She helped all of us identify our problem areas, which she called our crusades. My personal crusade was to listen to the music.

This workshop was unique because we not only spent time exploring ballet, we also examined different forms of creative expression through history, music, science, visual and theater arts. We learned from Ms. Farrell and from each other that becoming a good dancer includes learning about every aspect of life. She showed us, through her own life and career, that dance is a lifelong process, and that one can never stop learning and maturing as a dancer. In formulating my own style, I value studying under different teachers with different techniques, because each will contribute to what makes me unique as a dancer. My experience working with Suzanne Farrell gave me a certain maturity not only in dance but as a human being. I learned to respect each dancer for her or his own personal style and qualities, and I gained confidence in my own abilities. Now, when I wake up in the morning, I remember that everything I do sets up my approach toward class. I think of my crusades as I go through each combination, listening to the music and striving for those perfect Fifths.