Beyond Pink and Blue: How Ballet is Rewriting the Rules of Gender and Performance
Five years ago, the idea of openly nonbinary dancers gracing the stages of major ballet companies felt revolutionary. Now, while visibility is growing, a more subtle shift is underway – a realization that celebrating nonbinary identity in ballet can’t stop at simply mirroring the traditional binary roles with a flipped script. The art form is grappling with a crucial question: how do we truly create space for the full spectrum of gender expression, particularly for those dancers whose journeys began within the historically rigid structures of female-centric training?
The current spotlight often focuses on dancers who transitioned through the “men’s” track, showcasing a powerful image of breaking boundaries. But this narrative inadvertently overlooks a significant group: nonbinary artists socialized as female dancers. Their experiences, shaped by a system that often devalues and diminishes female voices, present a unique set of challenges and opportunities.
The Weight of Expectations: Conformity in a Female-Dominated Field
Ballet’s historical imbalance – a disproportionate number of female students compared to male – creates a unique pressure cooker for those who don’t fit neatly into prescribed gender roles. “In every class of little ballet kids, there’s 20 little people being socialized as girls and maybe one little person being socialized as a boy,” explains Katy Pyle, founder of Ballez, a company dedicated to LGBTQ+ representation in ballet. This disparity fosters an environment where female dancers are often told to conform, to be “replaceable,” while male dancers are positioned as “special” and “unique.”
Kiara DeNae Felder, a soloist with Les Grands Ballets Canadiens, describes a similar experience. “I wanted to follow all the rules, be unproblematic, and just get through the school-to-company pipeline,” they shared, highlighting the pervasive heteronormativity and rigid gender standards within the ballet world. This pressure to assimilate can delay self-discovery and expression, as dancers prioritize fitting in over authenticity.
The Visibility Gap: Why Female-Socialized Nonbinary Dancers Remain Underrepresented
The imbalance extends beyond the classroom. Historically, ballet leadership – choreographers and directors – has been overwhelmingly male. This power dynamic contributes to a system where female voices, and by extension, the experiences of nonbinary dancers socialized as female, are often marginalized. As a result, queer women and nonbinary dancers assigned female at birth often face greater obstacles to visibility compared to their male counterparts.
This isn’t simply about a lack of openness; it’s about ingrained biases and a lack of understanding. The expectation that female dancers will adhere to specific aesthetic ideals – often prioritizing a delicate or ethereal quality – can create barriers for those who don’t conform. As Ruby Lister, a dancer with New York City Ballet, points out, even “passing” as cisgender doesn’t always shield against microaggressions or the need to constantly educate colleagues.
Creating Inclusive Spaces: Beyond Pronouns and Casting Calls
Fortunately, ballet companies are beginning to address these issues. Progressive organizations like Ballet Zurich are proactively educating staff about pronouns and ensuring guest choreographers are informed. Casting notices are evolving to focus on technical skills rather than gender, and language is shifting to be more inclusive – referring to “dancers in pointe shoes and slippers” instead of defaulting to “women” and “men.”
However, true inclusivity requires more than surface-level changes. It demands a fundamental shift in mindset, a willingness to challenge ingrained biases, and a commitment to creating a safe and affirming environment for all dancers. This includes actively seeking out and amplifying the voices of underrepresented artists.
The Power of Affirmation and Collaborative Creation
For dancers like Max Richter, a soloist at Ballet Zurich, feeling affirmed in their identity is paramount. “My work self operates a little bit differently than my private life self,” Richter explains, acknowledging the complexities of navigating identity in a professional setting. Collaborative processes, where dancers are empowered to contribute their authentic selves, are particularly impactful.
Working with choreographers who prioritize individual expression, like Omar Román de Jesús, can be transformative. Lister recalls that the euphoria of performing in a piece created *on* them, by a queer choreographer, stemmed from the feeling of being fully seen and respected. This highlights the importance of diverse leadership and a willingness to embrace unconventional approaches to choreography.
Performing Gender: A Fluid and Evolving Landscape
Ultimately, ballet is a performance art, and gender itself is a performance. Pyle argues that the rigid binary definitions traditionally taught in ballet don’t reflect the lived experiences of most people. This realization is leading dancers to explore new possibilities, often likening performing explicitly female roles to a form of drag – a conscious and deliberate performance of a gender identity that isn’t necessarily their own.
This detachment allows dancers to embrace the artistry of the role without compromising their sense of self. Felder, for example, finds freedom in exploring femininity onstage, a space where she can express a softness that isn’t always afforded to her as a Black woman in society. The Guardian recently explored similar themes, highlighting the growing conversation around gender fluidity in dance.
The Future of Ballet: Embracing the Spectrum
The conversation surrounding gender identity in ballet is far from over. As the art form evolves, it must move beyond simply accommodating nonbinary dancers and actively embrace the richness and diversity of gender expression. This means challenging traditional casting practices, fostering inclusive training environments, and prioritizing the voices of marginalized artists. It also means recognizing that there is no single “nonbinary” aesthetic – that each dancer’s experience is unique and valuable.
The future of ballet isn’t about erasing gender; it’s about expanding its definition. It’s about creating a space where all dancers can thrive, not in spite of their identities, but *because* of them. What steps do you think ballet companies should take next to foster truly inclusive environments? Share your thoughts in the comments below!
