I’ m a former professional dancer. Now, I’m a Dominatrix. And so am I able to compare, to relate to, and to understand the quest of the submissive which is closer than you think to a dancer.

In dancing circles, the lessons, the rehearsals are, for the dancers, the most genuine and true moments.

With sadomasochism, the truth can be reached if the dominatrix mistress takes the submissive to such dizzy heights, to the edge of the unknown, while knowing she will never let them down. Most of the masochists, who are very hard to please and still have no regular mistress, are used to trying out different ones before they find their ideal dominatrix. Such as the student artist who keeps on searching for the best teacher to fulfill their ideal. The worst for a sadomasochist when learning would be for him to stagnate. His fascination would be broken.

Before the first night of the ballet, the last training for a dancer is the dress rehearsal. And it is only then, when dance steps are memorized, when measure, celerity and grace are under control, that the disguised dancer, facing the audience, can play his gleaming role.

This is the only reward for a passionate, whatever his passion is; the greatest moment for him to enjoy his ecstasy.

The feminized submissives love to worship, to look at themselves, as much as they love to take a seductive pose, to improve their posture therefore becoming more gracious.

Some of the dance steps, which look so natural, so free in variation, have to be learnt again and again at the barre. This is the only way to achieve the five positions and perfect balance.

In sadomasochism the positions can be maintained with the bondage rope. It is within the beauty of Pegasus in flight that I feel perfection.

Frequently, the student continues to learn on his own, working again and again on the education he was taught. Whatever his passion may be, he always wants to achieve more. When imprisoned, if the mistress taught him well, the sadomasochist would appreciate excogitation as well as he would enjoy the waiting of what could happen next.

The dominatrix must be able to maintain mystery, anxiety. The dance courses are made for a group. On the contrary, the sadomasochist actors have their own distinctive roles that they must follow to the end.

Like the principal dancer who will never be self-taught, the most devoted would really appreciate individual coaching, with the teacher of their choice.

The sadomasochist likes to have a constant interest fixed on him; he likes being held in correction by his mistress, during face to face sessions.

The program wouldn’t be of any interest, no dreams to the student dancers if there were no “entrechats, grands jetés” and others bounds to be learnt.

Paradoxically, a dancer has to repeat his dance steps with slow adagios before being able to perform them more rapidly. These bounds help the dancer to transcend himself though pirouettes and suppleness. This is the thrilling emotional present for those who can fly. As you can’t stay in the air, you have to enchain the bounds for your virtuosity to be seen.

There is an art in breathing control for a sadomasochist; this, to get rid of all fear. Only the mistress can impose the breathing rhythm, so that she can allow rushes of adrenaline. This practice gives a great moment of weightlessness to which you can add urology practice. The mistress then turns into mother, and she has to manage carefully this special atmosphere to perfection.

The dancer has to have flexible feet to ease the so-called “coup de pied”, the famous torsion of the feet, the so aesthetic instep which, for those who dance on points, make the legs and body look longer.

Thigh length high heel boots give to the dominatrix the same visual effect. Nothing would be more unsightly that a dominatrix, flabby on her heels. Sadomasochist clothes are made to emphasize the attendance of the mistress in the domination/submission context.

Many of the dance exercises provoke a burning sensation in the toes, and also in the pelvis. The splits, legs on the wall, give you suppleness only if you can hold this position for a few minutes. This gives you burning sensations from beginning to end, and even after. This requires mental strength and a regular breathing so that all this can be felt as meditation. Passion outweighs pain, that’s why the dancer doesn’t stop, he’s aware of that.

The masochist must find his own breathing rhythm during the wax or cigarette burning sessions. If it’s too hard for him, if he blenches every time he feels pain, the mistress has to moderate so that the game can go on. The reaction to the burning sensations is not the same. It depends on each submissive. Some of them want to have the mistress initials burnt on their skin, some prefer a cross, and some others prefer that their whole body or just a part of it, is covered.

The dancer is in complete concentration during his rehearsals or lessons. He keeps on learning, over and over, day after day, for he knows that this well-known movement can never be exactly the same the next time. This so much depends on the day’s mood. Dance steps, like words, which can never bring the same emotion.

The dancer is as cerebral as he is physical. He’s an actor, because of the multiplicity of characters he has to play in each ballet. During the lessons, many existential emotions are aroused. He has to perform so many different characters during his career that day after day, it becomes easier for him to reveal his gift of moving and blending naturally into a new personality each time. It is not just about playing a part for which you have learnt the narration or the poetry. It has to do with the reality of the character’s emotion emphasized by the music.

The mistress writes the scripts for the submissives, and she has to do it properly.

The masochist needs to act and the mistress is there to give him the role. More than ever, the submissive wants dramatic art, he wants to be kept in suspense and enjoys mystery. Whether the role play is real or fictitious, it is only the capability of the mistress who can pull him into her fantasy world that will leave him dizzy. In each script, the reality of what’s happening or will happen is not the only thing to introduce into the scenic game, because the submissive is very critical and hard to please. He knows exactly what he is looking for, what sort of fantasy he wants to experiment through all these games.