Once, there was a process that came with nervousness and excitement as a young woman set her sights on climbing the ranks in a ballet company. Hope and constant brushing up on technique were things that fed the ready young woman to conquer the stage in a new role— a higher way. How are men just given women’s roles all Willy nilly? When has this been a thing? How is this not acknowledged as fleeting? Quoting and praising men who flaunt their effortless approach to dancing women’s soloist and principal roles in any ballet is just mind blowing. It is just another ingredient added to the unfortunate war on women writhing the world of ballet.
I remember just staring at an image of a strong, courageous woman in different magazines that support the art of dance. As an aspiring professional dance artist and middle school girl I understood the work, sweat, honor and regality it would take to hold the title of “Professional Dancer”. I can even relive my college dance history course and how watching the evolution of classical ballet, specifically, once Marie Taglioni graced “the boots”, has had to dance alongside things like innovative costuming and the Bournoville reformation.
Later we’d watch pointe work move on to things like higher legs, complex sequencing of steps and brown satin but it was never lost on us that in order to make it through the ranks and even score coveted roles one had to have discipline, a brilliant or noteworthy skillset, a sparkling stage presence and perhaps, versatility that allows you to quite literally dance throughout demanding and election repertoire. Women are being subtly pushed to the back burner within a genre and profession that has always demanded our presence, softness, ethereal transformation and strength. It is the natural femininity and boldness, not virility, of a woman that introduced and has carried the side of classical ballet that takes the audience by surprise and leaves them in awe. Men don’t have that exact effect. They have something different.
Why isn’t anyone talking about this war? And where are these women when men are cast as Snowflakes, DewDrop or any other role they shouldn’t have? “It irresponsible, [that logic]” (in my Kelly Kapoor voice). Are women given these same ridiculous freedoms to move from this role to that one based on how we feel? No. It isn’t real! It’s not a thing!
I read a quote that mentioned dancing on stage is different for a “cisgendered person” but if we can be very clear there are only two genders that influences choreography and roles presented on the classical ballet stage. There is only man and woman. So, even when men put on pointe shoes and are outrageously cast in roles that are strictly designed for women, (who, by the way, hold their breaths awaiting the day to dance some of these roles, as they are dreamed of for years and seasons) the display is still either a man or woman. There is no in between.
How we personally feel has never driven what roles we are cast in. As a mature artist, you take on the role of that which you have been given. To make the role come alive after the director or choreographer lets go and decides what they’ve seen in you, they can now trust. Roles, especially in classical ballet are never about how one feels.
This war on women must be uprooted. It will never be innovative for a man to dance en pointe in a women’s role. It’s disheartening and squeezes women out of the picture. I’ve said it before and I’ll say it again. Both men and women are needed in the world of dance and we both have a specific role to play.
I believe that women still want women to look up to. For decades we have followed the most beautiful ballet stars from studio to stage, to screen, and now sharing that beauty with other industry companies and arts/entertainment mediums. The very last thing our country needs is to push women into a box of oblivion, subtly yet loudly telling us that the places we thrive no longer desires our presence.
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