Joy in ballet is impossible if you don't feel like you belong! After teaching thousands of students over 26 years, including transgender dancers, I've learned that creating welcoming spaces doesn't mean compromising technique. While ballet gives us beautiful traditions, we're breaking new ground in making sure everyone can thrive. Here are the practical strategies I use to maintain technical excellence while making sure every student feels truly welcome.
Setting the Tone
Each fall, I begin by introducing myself: "Hi, I'm Miss Chelsea. My pronouns are she/her. If you want to share your pronouns, you're welcome to do so." Despite teaching in an extremely conservative area where pride flags have been banned from classrooms, this simple introduction has never received pushback. Younger students typically accept it as naturally as they do French terminology, while older students appreciate the space to be themselves.
Language and Movement Choices
Ballet is rich with tradition, but some of our traditional language doesn't serve our students. Instead of using gendered terms like "men's steps," I use "bravura" to describe these powerful, dynamic movements. When teaching head movements, I explain the stylistic spectrum: traditionally male variations tend to use more direct, less tilted positions, while traditionally female variations often incorporate more tilt. Watching students explore these nuances has been one of the most rewarding parts of my teaching journey.
All students in my classes learn both curtsies and bows, pointe preparation and training is available to any dancer who is interested, and we practice running with both traditionally male and female dynamics. Most importantly, students are welcome to choose either style on any given day. While I've taught four trans students (that I know of), I've watched countless others experiment with different movement qualities throughout the year. It's beautiful to see a student light up when they find the movement style that truly feels like "them."
This approach has had unexpected benefits beyond inclusion. When students understand they have choices in their movement, they become more thoughtful about every aspect of their dancing. They start asking fascinating questions: "Why do we tilt the head this way?" "How does changing my port de bras affect the feeling of this combination?" I've found that students actually develop stronger technique when they're empowered to explore both traditional styles because they're not just following instructions, they're making conscious artistic choices.
Creating Physical Safety
Touch is an important teaching tool in ballet, but student autonomy is paramount. I explicitly teach that while I offer hands-on corrections, students are always welcome to decline. We practice saying "no" at the beginning of the year since this level of agency is still unusual in ballet. I remind students every class that touch is always their choice.
The physical space itself matters too. I've found that strategic barre placement can make a significant difference---sometimes I assign specific spots so that students struggling with body image can discretely stand where it is hardest to see their reflection. This approach supports all students dealing with body image concerns, regardless of gender identity. I also often turn classes away from the mirror (unless I want to use it as a teaching tool for a specific concept) to support these same students.
Costuming and Uniform Solutions: Honoring Both Artistry and Identity
Creating safe spaces in ballet requires thoughtful consideration of what we wear, both in daily class and on stage. Over my years of teaching, I've learned that costume choices can empower students to fully express themselves or become barriers to their artistic growth.
For performances, I approach costuming through both individual and group conversations. I speak privately with trans and non-binary students first, since not everyone is out to their peers, then open the discussion to the whole class about costume preferences. What I've discovered is beautiful---many dancers, regardless of gender identity, light up when offered options that showcase their strength and power alongside traditional romantic roles. One of my students told me, "I finally feel like people can see the strong dancer I am, not the dancer they expect me to be."
I recognize that this approach is easier in competition or recreational studios where we have more creative freedom in choreography and costuming. Pre-professional ballet schools often work with traditional repertoire and existing costume libraries, where change requires significant financial investment. However, even small adjustments in how we present and discuss costumes can make a meaningful difference.
The daily uniform continues to be an area where we're innovating and learning. Many students, particularly those dealing with body image concerns or gender dysphoria, feel more comfortable in adaptable attire. While maintaining the technical clarity needed for proper alignment and safe training, I've developed several approaches that support both inclusion and excellence:
All students may wear a body-skimming black (or other uniform-matching colored) shirt over their leotard. This option provides more coverage while still allowing us to see and support proper technique
Everyone has the option to wear either a ballet skirt or fitted shorts in specified uniform colors. These choices maintain the professional atmosphere while offering students more control over their presentation
Most importantly, these options are available to everyone. Creating truly inclusive spaces means that no student should stand out for their uniform choices---they should be free to focus entirely on their dancing
This approach has had unexpected benefits beyond supporting trans and non-binary students. It helps dancers managing menstruation (we've all had those awkward moments in pink tights), students new to ballet who are still building confidence, and anyone navigating body image concerns
When we create spaces where students feel comfortable in their bodies, they can focus more fully on their artistry and technique. One of my advanced students once shared, "I used to stress all day about how exposed my chest was going to be in ballet class. Now I actually can enjoy my dancing." That's exactly what we want---dancers focused on their art, not their appearance.
Partnering and Role Exploration: Building Understanding Through Experience
Beginning partnering work offers a unique opportunity to deepen students' understanding of ballet's collaborative nature. In my classes, every student has the opportunity to learn both roles, though they always have the choice of what they'd like to explore.
This approach has revealed beautiful moments of discovery. I've watched students' eyes light up as they finally understand why their partner needs a specific preparation, or how a small adjustment in timing can make a lift go so much more smoothly. Female-presenting dancers get more practice time instead of waiting for turns, while male-presenting dancers avoid the physical fatigue that can come from repeatedly executing demanding lifts or supports.
Student agency remains paramount in these explorations. While the opportunity to learn both roles is open to all, no one is ever required to dance a role that makes them uncomfortable. This is particularly important for male-identifying students who may already face social pressure outside the studio for pursuing ballet. Creating a truly safe space means respecting when a student says "no" just as much as supporting them when they say "yes."
What continually amazes me is how this approach deepens everyone's understanding of partnering fundamentals. Whether a student chooses to explore one role or both, they develop a clearer grasp of how partnering work is about partners---no one is more important than the other. During those socially challenging preteen and early teen years, when students often default to teasing or gender-based cliques, I've watched this shared experience foster unexpected empathy and respect. There's something powerful about discovering firsthand how challenging your partner's role can be; it transforms "their job" from a mystery into something worthy of genuine appreciation. As one student told me, "I never realized how much work my partner is doing!"
Creating a safe, inclusive space doesn't require grand gestures---it's built through consistent, thoughtful choices that respect each student's autonomy while maintaining high technical standards. Perhaps most importantly, these choices help build a community where students support each other's growth instead of reinforcing limiting stereotypes. The beauty of ballet lies not just in its centuries of tradition, but in its capacity to evolve and embrace all who wish to study it. When we make mindful changes to our teaching practices, honoring both excellence and inclusion, we don't just preserve ballet's legacy---we help it grow into something even more extraordinary.
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