Dear friends, I am writing to you today with a full heart and a little sadness. After much reflection, I have decided to close my Skool community. This was not an easy decision. A community deserves presence, attention and care, and my current commitments no longer leave me the time to give you what you deserve. Rather than keep a space open that I cannot nurture properly, I would rather say goodbye honestly and with gratitude. And gratitude is what I feel most. Thank you for joining me, for your curiosity, your questions, your trust and your kindness. Every message and every exchange meant more to me than you may know. You made this space alive, and I will carry that with me. This is not a goodbye to our connection, only to this platform. If you would like to stay in touch and follow my work, you are warmly invited to visit my website: simonanoja.com You are also always welcome to write to me directly at simonanoja@gmail.com. I would be truly happy to hear from you. Thank you, from the bottom of my heart, for being part of this journey. With warmth and gratitude, Simona Noja-Nebyla

The chapter opens with the ballet's roots in Renaissance geometry, crystallizing under Louis XIV and Pierre Beauchamps into an autonomous art form, transmitted from master to student. But that transmission didn't happen passively. Across the 17th–20th centuries, a specific lineage of dancers became theorists themselves — trying to put into writing what had only lived in the body. Jean-Georges Noverre, in the 18th century, argued for dance as dramatic storytelling rather than decoration. Carlo Blasis, in the 19th century, wrote some of the first systematic technical manuals. August Bournonville built an entire national school around his own codified style. Enrico Cecchetti, into the 20th century, formalized a method still taught today. Each one, in their own way, was doing exactly what this thesis is arguing ballet still needs more of: turning embodied knowledge into shared, written theory. The chapter then shifts to something more contemporary and, frankly, more urgent: the IOTPD (International Organization for the Transition of Professional Dancers), founded in Lausanne in 1993. Its founder, Philippe Braunschweig, made a pointed observation: dance may have no language barriers, but the international dancer community is full of systemic ones — especially around funding and social protection. The organization's 1995 Lausanne Declaration stated plainly: dancers contribute significantly to society, society should recognize that contribution concretely, and career transition support should be a built-in part of dancer training — not an afterthought. A follow-up 2004 report was even blunter: dance may be the only profession requiring such extensive training, so culturally valued, and so poorly compensated — and the lack of transition support wastes real human capital, not just individual careers. The chapter closes by turning back to the present: the 21st-century ballet community, the thesis argues, needs to consciously reclaim clearly defined roles — for dancers, teachers, and the art form itself — precisely because so many of these older recognition battles remain unfinished.

Vești bune pentru toată lumea de aici — teza mea de doctorat, Baletul, model educațional academic (summa cum laude, 2023), tocmai a devenit disponibilă gratuit, în format digital. https://www.simonanoja.com/baletul-model-educational-academic E cartea care stă la baza a tot ce construim aici, în comunitatea asta — matricea „balet continuum" de care unii dintre voi m-ați auzit vorbind vine direct din ea. Descărcare: https://www.simonanoja.com/baletul-model-educational-academic Mi-ar plăcea să aud ce credeți, mai ales de la cei care predați deja — spuneți-mi în comentarii ce rezonează și ce nu.

I would love to see more opportunities for talented dancers from the Middle East to be accepted into professional ballet schools.Many of them may not have access to the same level of training as students in Europe, but they often show strong potential, musicality, and dedication. With the right support and guidance, these dancers could develop into professional artists. Providing more scholarships or bridging programs could truly make a difference in their development and open doors that are currently difficult to access. I truly believe that talent is everywhere — it only needs to be seen, supported, and given a chance to grow.

Dance and Philosophy with Alonso King for those needing some inspirational "depths"