Seven girls stand in a perfect row next to the barre. Each one dressed in white tights, and a black leotard, their hair pulled tightly back in high, perfect ballet buns. Their pink slippers are tied perfectly and their feet are turned out in first position. The instructor presses a button and the girls instantly begin to move in unison. They bring their arms up and each rest one hand on the barre; the other in second position. As the music plays, they plie and straighten, releve and rest, deep plie, turn towards the barre and do the other side; turn again towards the barre and change to second. Repeat in second, fourth and fifth positions. Next are Tendus, Rond de Jambe, Grande Battement,  Petite Battement, and Degage. Adage, Porte de Bras, Fouette and Pirouette combinations are performed in perfect unison out on the floor along with Jetes, Pas de Chat, and Sisones. Around the room steps; Poses, Posses, Ponches,  Arabesques, Assembles,  Bourrees, Brises.
As the girls dance in front of the walls lined with mirrors floor to ceiling, their faces rosy with enthusiasm and expression, the instructor looks on, critiquing and praising as she marks the Tchaikovsky playing brightly and briskly through the surround sound speakers. She makes remarks to everyone about posture, turn out and the “lines of their arms.” She molds and positions the dancers’ bodies in the way she needs them, and has full confidence that come next practice, they will have the minor problems fixed. Their hands will be soft, their legs straight, and their feet pointed.  She wants the dancers to reach their full potential to become gorgeous, sleek, professional dancers. She is confident that they all have the ability to fulfill this potential, and with every new day of dance class, her confidence is reassured and strengthened.
Even though there might be a few loose hairs, a small hole in their tights here and there, the technique of the dancers is what truly matters. If every dancer looked absolutely perfect, something would be wrong. They must be worn down, tired, even a bit messy. Each dancer aspires to have the perfect pointe, the widest turn out, or the highest sautees. They practice until there is no possible way for them to practice any more, and then they practice just a little bit more. Each dancer practices every waking moment; Twenty five hours, eight says out of the week.They each strive to be the best dancer they could be. Even when they get home, or go to school, the music sticks in their head and the routines subconsciously play back over and over. Their muscles are sore and tight, but they go right back to practicing the next day. The measure of the dancers’ progress is measured not by numbers of recitals or fouettes they have done, but in the amount of self confidence and perfectly broken in pointe shoes.  Even when they are not actually performing, the dancers express themselves in the studio; in the movements and posture.