Ballet macabre

“If I don’t dance, I’d rather die.”
-Wendy Whelan (1967 — )

As many art forms, ballet was first performed in Italian Renaissance courts and later travelled to France as Venetian Catherine de Medici married the french king Henri the 2nd in 1533. After being performed mostly by “noble” amateurs, the first professional ballet company “Paris Opera Ballet” was founded in 1669.

Ballet is undeniably Elite from its inception as Royal art until todays performances where classic ballet has incorporated many modern variations – most notably in the United States by Russian choreographer George Balanchine who developed what is now known as neoclassical ballet. It is said that Wendy Whelan was created for Balanchine ballet as she lead the New York Ballet for more than three decades dancing a repertoire of more than 50 ballets. Wendy Whelan is a ballet star and admired and respected internationally as no one seem to mind her apparent gender identity mismatch. In fact the Elite seems to have chosen him (now her) for that very reason.

Although presented as open to us all, Opera houses are clearly guarded strongholds of the upper 1% protected by high prices and impossible booking delays – and we can forget seats close up, these are continuously reserved and taken by our betters as they see it fit. Furthermore, the common public is estranged by the never-ending technicalities and lengthy history that seems to be a prerequisite for understanding what a ballet really engages and actually is meant to convey. As much as we are all familiar with Opera, it is by distant observation and evidently not by critical close inspection.

Mostly only experts can be trusted with matters of high art who all conclude Whelan is and was an outstanding Ballerina. If experts study Wendy Whelan’s performances made in very tight outfits and much bare skin without rising an eye of what is obvious – it does force a very straightforward conclusion that all ballet experts and connoisseurs full well know that Whelan is Restless Male Creature*. Not a woman. Never even close. Elite Gender Inversion celebrated unanimously in plain sight.

If there is one, there are many. In the Opera it is frankly so ill hidden that it is besides the point to track down each individual case. If the lead dancer for 30 years in the NYCB can be an obvious Female to Male EGI – where is the limit ? How many Elite members partake in the celebration of Opera, its culture and their star dancers ? It seems clear the top 1% of this world has Elite Gender Inversion in common as their secret obsession or duty. The Elite might not all be inverted individually, but they sure are EGI aware enough to party, mingle and marry the various EGI creatures we see more clearly by the day. The most troubling fact is that only the most obvious cases are seen as of now, and that are certainly EGI individuals so well inverted they never will be scrutinised by our limited investigative forces.

We know there are 33 known degrees in freemasonry by which an individual would become a Master Mason. MM is short for both Master Mason and 33 when the letters are rotated 90° clockwise. By the same token, if we rotate the letters WW clockwise in the opposite direction, we will equally see that 33 once more appear. Wendy Whelan’s parents does not seem to have chosen her name (WW) haphazardly and her role as the lead dancer in american ballet looks artificially orchestrated. Wendy began her dance training with Virginia Wooton (VW) at the tender age of 3 in Louisville and later joined the official school of New York City Ballet (SAB) at the age of 14. A spine injury (scoliosis) made the young boy obliged to wear a heavy plaster cast for quite a while – most possibly an astute explanation for advanced manipulation of the male back and pelvis in order to comply with the future role as the principal female (!) dancer at the NYCB.

After 33 years with the New York City Ballet, Wendy Whelan left in 2014 all while she had already begun a new nationally touring performances in 2012. Her specially crafted production called “Restless Creature” is made by star choreographers Kyle Abraham, Joshua Beamish, Brian Brooks and Alejandro Cerrudo with Whelan dancing duets with each respective choreographer in person. Predictably WW’s entire career is now promoted through the homonymous “Restless Creature” documentary to WW’s assumed last dancing act. Whelands legend is thus programmed to last written on film as a role-model female who vanquished her serious physical deformity and earned her way to the top through hard work.

It seems it is nothing 33 degrees of inversion can’t do for the success of any man of Whelan’s ilk.


Wendy Whelan in her (final) 33rd year at the NYCB (1981-2014)
•male sized straight shoulders, flat bony chest, long neck with trachea left-overs from thorough shave, male hairline and forehead, deep wide set eyes, prominent male nose, sizeable ears, male jawline & chin size and male type wide mouth.

*the documentary “Restless Creature : Wendy Whelan” was released 2016 (imdb)

Complementary Fakeologist EGI blog breakdown here