A Feminist's Photographic View of Ballet Dancers

A Feminist’s Photographic View of Ballet Dancers

This project was interested in how female-identified dancers might desire to move their bodies in ways that both subverted and/or diverged from classical ballet form. In the summer of 2023, six dancers with classical ballet training had the opportunity to explore alternative modes of movement and representation. Each dancer has over a decade of classical ballet training, although not every dancer currently focuses on ballet as their primary form of dance. Participants were all in their late teens to mid twenties. The purpose of this study was to explore how dance photography can create space for alternative expression.

Each participant was invited to participate in an interview and an optional follow-up photoshoot with me. The semi-structured interviews were conducted to gain an understanding of dancers’ backgrounds and opinions about ballet. Subsequently, dancers completed a photoshoot with two phases: demonstrating classical balletic poses, and then alternative poses in whatever style they preferred. Each participant contributes a different resistance to ballet hegemony.

Ballet is a very visual medium, and how it is typically photographed reflects the often narrow and conservative values of it as an institution. This project allowed dancers to reflect on their beliefs about ballet and to explore alternative modes of expressing movement through the photographic process.

This project was supported by the Human Performance Fund grant from the President’s Office at the University of Alberta.

This study was approved by the University of Alberta Human Research Ethics Board, Study #PR000131295.

Thank you to Elizabeth from the Pendennis Weddings & Events for lending their space for the photoshoot.

This study pulls together several personal and related interests: my training in classical ballet as a female dancer, my academic background in kinesiology, and my career as a photographer. In the summer of 2023, six dancers with classical ballet training were invited to participate in an interview and an optional follow-up photoshoot with me. I was interested in how classically trained, feminized ballet dancers might desire to move their bodies in ways that both subverted and/or diverged from classical ballet form.
Each of my six participants engaged in a semi-structured interview process with me, discussing their background in ballet, their internalized beliefs about this art form, and their desires for change in this reified tradition. This photographic exhibition represents how each participant interpreted and kinesthetically expressed traditional balletic and their exploratory alternative poses, inspired by the interview conversations we had.
Laban movement analysis was used to frame my initial interpretations of the physicality of the dancers’ movements and poses, through its four components: body, effort, shape, and space (Groff, 1995). While often used in drama contexts, this approach allowed me to juxtapose images according to established movement analysis conventions.
Then, a semiotic approach is used to explore how female-identified dancers are represented in photography, specifically through posing (Hall, 1997). This approach argues that all cultural objects and activities convey meaning, and therefore must use signs as a language to communicate that meaning (Hall, 1997). So, rather than simply looking at an end result (a pose), each photo-session is primarily analyzed for what the images ‘say’about white feminized embodiment, informed by considering the underlying rules and codes of ballet.
Overall, this study aims to better understand the specific conventions of posing that are embodied through disciplined classical ballet training (Shogan, 1999), as well as how these embodied movements can be disrupted to express dancer autonomy.
I read work that focused on feminist analyses of ballet to help me create interview questions that would address multiple aspects of each participants’ background, experiences, and opinions. Through my search, I discovered that there is a lack of literature specifically looking at how feminized dancers with ballet training are photographed. During the analysis, I also read about the concepts of the disciplined body, tethered photography, and movement analysis.
Participants were individuals I knew through past and current connections in the dance community. After receiving Research Ethics Board approval, each person was contacted via email with information regarding the study, interview, and photoshoot. Every individual was given the option to complete the interview either online or in-person; one dancer chose in-person, while the rest completed their interview via Zoom. Interviews lasted about 60-75 minutes each; the audio was recorded and then transcribed. Explicit written approval was obtained to have their real name, face, and image used for public exhibition of the study’s results.
One participant was not able to take part in the photoshoot. Four of the dancers completed their photoshoot on a single day during private back-to-back sessions, and the fifth dancer completed on a different day due to their schedule.
Upon arrival at the photoshoot location, each participant was shown the main-floor and upper levels, so that they could choose which space(s) they preferred to use. Each session then began with the poses rooted in their classical ballet training and what they perceived as representing this form of dance. Subsequently, the alternative poses were explored. Many of the dancers chose to find their poses through improvised movement sequences for the second portion.
Tethered photography is the process of shooting with the camera connected to a computer, so that the images can instantly be seen on a bigger screen (Format, 2023). It is often used to check details, such as ensuring that every part of an image is in focus. In this case, tethering was used to give the dancer the option of viewing their poses to decide what appealed to them in the moment. That way, we ensured that they were happy with their pose before moving on to the next.
In a secure online gallery, each dancer could privately view their images. From those, they were able to choose which shots they wanted to be edited and used in the study. For two participants, there were additional images used that fit the comparison portion of the study. Photos were edited only to colour-grade and photoshop out distracting background structures such as fire alarms; no skin retouching or body alterations were made in post-production.
Individual and overlapping themes were identified in the interview responses and transcripts. With these themes in consideration, a comparative analysis was completed for each individual dancer; comparing a photo from each portion of their photoshoot. When selecting the images for consideration, overall aesthetic was a factor, but emphasis was placed on photos that also coincided with what the dancer spoke about in their interview and showed a contrast in their style of posing
Using semiotic, psychoanalytic, and feminist tools, this study explored a continuum of different interpretations of alternative posing by dancers with classical training. Through analysis of the various poses in consideration with interview responses, many themes were explored, including the codification of gender through movement, dancer autonomy, and individuality.
Further research could include empirical aesthetics as a means of interpreting information. Additionally, every participant demonstrated an arabesque during the classical phase of the photoshoot; it could be useful to explore the symbolism of this pose in-depth.

Analysis & Discussion

Avincia (She/her)

Avincia’s current aspiration is to be a professional ballet dancer, and she has attended prestigious training institutions such as the School of Alberta Ballet and the summer intensive for the National Ballet of Canada.

The classical pose that you see is a retiré en pointe. Pointe shoes are typical for classical ballet photoshoots, as they extend the lines of the leg and overall pose, as well as highlight the dancers’ arched feet. Another elongating element that can be noticed as a commonality between both the traditional and alternative poses for many of the participants is the hand positioning. Specific finger placements are taught from a very young age, in order to make the hands appear as graceful as possible. When considering Laban’s “effort” category, it can be further broken down into time, space, weight, and flow (Groff, 1995). Many balletic poses that are traditionally associated with femininity utilize a sustained time effort, meaning that there is lingering. This can be seen in Avincia’s first pose through her hand positioning and how she lingers en pointe, showing her ability to balance in the elongated pose.

Avincia’s alternative pose is a still moment during a cabriole, which is a type of ballet jump. This pose is still quite balletic: the limbs appear long and extended, toes pointed and fingers carefully placed from years of training. In contrast to the lingering of the retiré en pointe, the time effort in this second pose is sudden, with the explosive movement of the jump, but there is still highlighted lengthening of the arms and legs. However, an important reason why this alternative pose is significant, is that when asked what she wanted to highlight in her photoshoot, Avincia mentioned her musculature. Ballet historically constructs beauty as slender, dainty, and pale; but there has been recent push-back against the notion that muscular bodies are not conductive to ballet by dancers such as Misty Copeland (Golden, 2018). One important element of this study is to explore dancer autonomy; with her current training history focused on ballet, it makes sense that her alternative pose still holds a strong classical element. Regardless, it was Avincia who chose how to show her classical training and techniques in two different manners between the poses. This pose, although it is still heavily classical, displays the strength of Avincia as a dancer, exemplifying the overlap between strength and grace.

When reflecting on what has shaped her view of an ideal female ballet dancer, Avincia noted that social media, and the photos that she sees there have had the largest impact. Currently, social media presents an overload of images to the consumer, causing certain visual conventions to become unquestioned and easily consumed (Buikema & Zarzycka, 2011). Many of the interview participants noted that their views of what an ideal ballet dancer looks like were shaped early on in the training setting, including social media and favoured students. A significant part of ballet training is the self-awareness that is ingrained from a young age. This is an awareness of how one looks, enforced by large mirrors in training studios, how one feels the movements and muscle activation within their body, as well as how they are perceived overall as a dancer. The embodiment of the gaze of authority and subsequent self-monitoring can be termed panopticism (Shogan, 1999). During this process, the dancer internalizes the gaze and begins to self-police their own behaviour.

Zara (She/her)

Zara’s classical ballet training was completed through the Edmonton division of the School of Alberta Ballet, where her focus was mainly on ballet. Since graduating in spring 2023, she has been re-evaluating what style of dance she would like to focus on as she also enters post-secondary studies at the University of Alberta.

When reflecting on facilitators and barriers within her training experience, Zara noted that a significant event was a major spine surgery at the age of twelve. This has had a significant impact on the types of movements that she can perform, as the metal rods in her back restrict movements like posterior high leg lifts. In ballet, feminized movements are often centred around extensions and turns, whereas masculinized movements often focus on explosive maneuvers like jumps; these movements reflect the codified values of feminized gracefulness versus masculinized musculature (Risner & Watson, 2022). Zara reflected on how the surgery made her more grateful for dance, and also re-evaluate how she dances and why she is passionate about it.

In the first image, Zara is en pointe, with her right leg in a low attitude. The raised chin, averted gaze, and open collar bone are techniques that show off the elegance of her upper body, and are normative expectations (what Shogan might call prescriptions) in traditional ballet. Although high dress slits are not very common in classical images, it shows off the extended line of her left leg, complemented by the use of pointe shoes. Even with the surgical implants, Zara can still fulfill the prescriptive demands of ballet by “turning out”, providing flattering angles for her legs and feet. This pose, with its requirement of external hip rotation is still available to Zara, despite the previous surgery. Laban views “shape” as a dynamic process in which the outward shape change reveals a variety of inner attitudes (Whittier, 1995). Further, Groff notes the importance of dancer’s being aware of the process of creating a shape with their bodies, rather than just the end posturing. He argues that this facilitates active participation of the dancer in creating the shape, while also connecting internally to enjoy the process.

Zara switches out the pointe shoes for her Converse in her alternative pose. Although she is physically unable to extend her leg upwards behind, Zara shows off her flexibility with a forward kick. This pose is composed of a series of curved lines, with bends at each joint and parallel legs; which is a contrast to the proscriptions of ballet demonstrated in her first pose. Rather than an open body position with each limb extended for the traditional ballet viewer, Zara’s body language and attention is directed away from the camera and traditional ballet viewer. Similar to some balletic poses, this alternative pose is initiated with a sweeping motion of one leg. However, in this case, the levity of the kicking leg is counteracted by the bent left leg, which grounds Zara’s pose.

As with all the dancers, Zara was able to adjust her poses with feedback from the tethering set-up. Tethered photography is the process of shooting with the camera connected to a computer, so that the images can instantly be seen on a bigger screen (Format, 2023). It is often used to check details, such as ensuring that every part of an image is in focus. In this case, tethering was used to give the dancer the option of viewing their poses to decide what appealed to them in the moment. That way, we ensured that they were happy with their pose before moving on to the next.

Elya (She/they)

Elya’s artistic educational background includes extensive knowledge of classical music and historical balletic works. So, when asked to demonstrate a pose that reflects her classical training, and what she thinks represents the traditional ballerina, it’s interesting to see that she chose to lean into the Romantic era. The Romantic era produced balletic works such as La Sylphide (1832) and Giselle (1841), which showcase the era’s emphasis on imagination and the feminization of ballet in a specific visual manner, epitomized by Marie Taglioni’s Sylphide. This characterization is described as a “ghostly, uncanny female figure” who is so pure that she is unattainable— a figure resembling the religious and romantic icons of angel and bride, ultimately a symbol for romantic love (in Stovel, 2019, p.10). In Elya’s classical pose, the romantic-style tutu, and low bun accentuate the time that this pose is from, when the demure character was especially popular in ballet. In the romantic-era ballets, there was dichotomy between the dancer pre- and post- death, with the translucent white tutu conveying a spiritual state (Stovel, 2019). Similar to many other participants, Elya’s head is turned away from the camera, accentuating the length of her neck, which is in a continuous line with her draped arm and extended leg.

The careful finger placement that is recurring between dancers is an example of Foucault’s “docile bodies”, a term that refers to the result of techniques and strategies of disciplinary power (Shogan, 13). Ballet dancers are expected to be extremely moldable and responsive to corrections, while also maintaining strict technical basics such as turnout and hand placement. However, it is important to note that “docile bodies” does not necessarily mean passive; rather, through this process, athletes are able to carry out precise and often rarified skills (Shogan, 1999). Laban’s “shape” category looks at how dancers literally shape their body while executing movements; Wittier (2006) notes that in order for ballet dancers to reproduce balletic technique with such precision, they must understand the shapes and lines of various positions, as well as the style or aesthetics of the movements. Elya’s disciplined classical training enables her to demonstrate the romantic pose with this precision, as well as many other movements that are uncommon to the untrained person.

There is a clear nod to ballet in Elya’s alternate pose, with the elegantly curved arms and lengthened fingers. This still image exemplifies a dancer drawing on their “docile body” to explore a more individualized interpretation of a rarified skill. However, the turned head is now partially covered by her unruly hair, which, now that it has been let down, contributes in itself to the pose. Notable, this pose is a moment during which Elya was dancing and actively moving, rather than trying to hit a static pose.

During the interviews, multiple dancers found it important to distinguish between ballet as an art form and the institution of ballet. Finding community and working towards a common goal with peers was mentioned many times, and by extension ballet as a safe space from other aspects of life. In addition, participants mentioned expressing oneself, beautiful physical capabilities, and contributing to the world as a performer. Many of the dancers valued these aspects of ballet, and still enjoy the art form, while critiquing the institutional constraints.

Julianna (They/them)

Julianna is currently a contemporary dancer studying at the École de Danse Contemporaine de Montréal, and has previous training from the Victoria School for the Arts and the Edmonton division of the School of Alberta Ballet.

During the photoshoot, Julianna only wanted to spend a few minutes photographing classical poses, and then we quickly moved on to the movement exploration. In their classical phase, Julianna demonstrates a common ballet pose with their legs in a crossed fourth position en rélévé, and arms extended in a third arabesque. During their interview, Julianna noted that they were always able to achieve the physical demands of ballet; their tall, lean, flexible embodiment fits well with the demands of the art form. In her book, Shogan refers to the contradictory forces of submission and empowerment that allow human performance. She notes that submitting to a certain way of knowing and/or behaving in order to participate in the normative demands of an artistic practice such as ballet, allows for these normative demands to be met. Although Julianna spent time embracing ballet, meeting all of the normative demands, their sense of dissatisfaction only grew. Julianna clearly articulated feeling constrained and restricted in how they were allowed to move their body while still in ballet training. In the past couple of years, Julianna said that they have been intent on understanding the purpose behind movement, and that it has become less about expected image and poses for them, and more about the movement practice itself.

Like many of the other participants, when asked about what femininity in ballet means, Julianna described it as highlighting what they weren’t, creating a feeling of inadequacy. Clare Croft argues that feminist dance criticism must first recognize the normative codes that structure critical reception of dance, including those related to gender and sexuality; then, it must examine the potential action of women in the systems of dance, who, through performance, demonstrate that gender is not a stable identity, rather a “stylized representation of acts” (Croft, 2014). In dance, particularly ballet, students are taught normative performances of binary and heterosexual femininity, leaving no room for grey areas or exploration (Olzman, 2020). The limitations on exploration of identity through movement, imposed by the normative codes of ballet, creates a space that encourages a single version of femininity. Consequently, dancer’s are not taught how to or given room for self-discovery outside of this version, leading to these feelings of insufficiency.

Julianna’s alternative pose is a still from an extended series of improvisation, where they move through many grounded actions, mixed with a few extended movements. Typically, traditional dance photography captures the image of a dancer in a static pose, or moving through one specific, planned pose. So, it was interesting to see the unplanned poses that were caught as stills among a longer sequence of movements. Unlike classical ballet poses, where there is an emphasis on balance, Julianna’s alternative pose is grounded in imbalance. Laban discussed fluctuations of weight as occurring between light and strong, both of which can be seen in the variety of movements demonstrated by Julianna, from grounded pliés to lofty jumps. By not having their weight perfectly centred on the left leg, Julianna is able to further bend their body laterally and extend their limbs to counter-balance. This creates a dynamic shape, showing how technique can be used to purposefully relinquish some control over the body. As Shogan suggests, a skilled, disciplined docile body is better able to mobilize power, leading to satisfaction and reward.

Tia (She/her)

Tia has training in classical ballet, alongside many other forms of dance, and she is currently a freelance dancer based out of Edmonton. In her interview, Tia articulated that she has begun to put more emphasis on how her body feels when she dances, rather than focusing only on how her movement looks.

Although Tia’s ‘classical’ pose follows physical posing standards, her presentation is still less formal compared to the other participants. Even in this resistance, Tia still draws on her early training in ballet, demonstrating key features such as the carefully placed hands, extended limbs, and face tilted away from the viewer. When we talked about classical poses, Tia pointed out that an extended leg is common, so that was her intention when choosing this pose. However, the finger placement and tilted head were not discussed, so they likely happened as a disciplined aspect of Tia being in the body/mindset of a trained ballet dancer.

The overall shape created by the body in Tia’s alternative pose breaks the personal kinesphere that is typically respected in balletic poses by interacting with the architecture of the space. In no way is she trying to seem elegant or elongate her body, with her lower limbs in a bent position, and upper limbs barely visible except for an elbow and shadowed forearm. This lack of visibility is partially due to the clothes that Tia wears, which are loose-fitted and not codified to a specific gender or style of dance. As mentioned earlier, the time effort in ballet poses is typically sustained, and the dancer is aiming to linger in the movement to show their ability to balance in the pose. However, Tia’s movements during this exploration leaned more towards sudden changes, responding to the architecture around her. For instance, Tia not only moved through floor work, but also improvised movements relying on the wall seen behind her in her first pose, as well as the slanted beams.

Sexualization, particularly of female bodies, is used to draw a spectator or consumer to an image (Hall, 1997). In Tia’s interview, she discussed the sexualized history of ballet dancers, from prostitution in royal courts to sexualized poses used in contemporary photographs. Buikema and Zarzycka (2011) consider the omnipresence of sexualized, yet mythological, female bodies in media and artistic practices. They argue that the traditional meaning assigned to sexualization through gender, race, and ethnicity is not given, rather it is constructed through specific visual forms; meaning that to shift the overdetermination of sexualized female-identified ballet dancers, alternative imagery with which to identify is necessary.

Averted eyes are a consistent technique between all of the dancers’ classical poses. The concept of the gaze helps us understand this as a gendered performance. Berger (in Bukima & Zarzycka, 2011) argues that in Western visual culture, men act (look) while women only make a passive appearance (are looked at), meaning that the most important function of the female body in visual culture is its “to-be-looked-at-ness” (in Buikema & Zarzycka, 2011, p. 121). Because the dancers are not actively returning the gaze of the viewer/camera, this argument suggests the ownership of the gaze is not the dancer’s. This theory provides a good starting point, but is also limited as it does not account for female-identified or other non-traditional spectators, as well as their kinesthetic or imaginative responses to patriarchal narratives (Croft, 2014). Notably, many of the dancers’ faces are averted or not visible in their alternative poses, including one of Tia’s.

However in her second alternative pose, Tia can be seen staring down the camera from underneath her left calf. Similar to Julianna’s alternative process, this image of Tia was captured among a series of continuous improvisational movements. The relationship between Tia’s body parts does not align with the more conservative conventions of classical posing, from the splayed legs to the curved spinal contraction, which is accentuated by her rounded shoulders. Returning to the concept of the gaze, this pose exemplifies an instance where a dancer chooses to actively return the gaze of the viewer, which can be argued as a means of becoming the owner of the gaze or claiming agency (Buikema & Zarzycka, 2011). The combination of returning the viewer’s gaze through an arguably vulnerable pose, while wearing clothing that is not codified or sexualized provides the kind of alternative imagery with which other dancers can then identify.