Introduction
This reflective essay explores a personal experience in my dance studies where I challenged the long-held belief that classical ballet represents the pinnacle of dance artistry and technique. As an undergraduate student in dance, I initially viewed ballet as the superior form, influenced by its historical prestige and technical rigour. However, exposure to contemporary dance practices prompted me to question this idea, leading to a broader understanding of dance’s diversity. This reflection draws on dance theory and historical contexts to analyse what sparked this shift and its outcomes, ultimately highlighting the value of critical engagement in artistic education. The essay examines the initial belief, the prompting factors, the process of challenging it, and the resulting implications for my development as a dancer and scholar.
The Initial Belief in Ballet’s Supremacy
From the outset of my dance training, I subscribed to the notion that classical ballet was the ultimate dance form, embodying precision, discipline, and aesthetic perfection. This belief was rooted in ballet’s historical dominance, originating in the courts of Renaissance Italy and France, and later institutionalised through academies like the Paris Opera Ballet (Homans, 2010). In my early studies, I internalised the idea that ballet’s codified vocabulary—such as pliés, tendus, and grand jetés—provided the foundational technique for all dancers, often overshadowing other styles. This perspective aligned with traditional dance education, where ballet is frequently positioned as the “mother” of Western dance forms (Adshead, 1988). Indeed, many curricula emphasise ballet’s role in building strength and alignment, arguably reinforcing its perceived superiority. However, this view limited my appreciation of dance’s broader spectrum, as it marginalised non-Western and contemporary expressions that prioritise emotional authenticity over technical virtuosity.
The Prompt for Questioning
The catalyst for challenging this belief occurred during a second-year module on contemporary dance history, where I encountered Merce Cunningham’s innovative approaches. Cunningham’s rejection of ballet’s narrative and hierarchical structures prompted me to reconsider my assumptions. Specifically, participating in a workshop inspired by his techniques, which emphasised chance procedures and non-linear movement, revealed ballet’s limitations in expressing modern human experiences (Copeland, 2004). For instance, Cunningham’s work, such as in “RainForest” (1968), decoupled dance from music and story, challenging the balletic emphasis on harmony and control. This exposure was further influenced by readings on postmodern dance, which critiqued ballet’s Eurocentric roots and its exclusion of diverse cultural influences (Banes, 1994). What prompted my thinking was the realisation that ballet, while elegant, often perpetuates rigid gender roles and body ideals—issues highlighted in feminist dance scholarship. Typically, such critiques argue that ballet reinforces a narrow aesthetic, prompting me to question why I had uncritically accepted it as superior. This moment of dissonance, therefore, stemmed from both practical engagement and theoretical insights, urging a more critical lens.
The Process of Challenging and Reflection
Challenging this belief involved active reflection and experimentation. I undertook a small research project, analysing how contemporary choreographers like Pina Bausch integrated everyday movements to convey raw emotion, contrasting with ballet’s formalism (Climenhaga, 2013). By evaluating primary sources, such as video recordings of Bausch’s “Café Müller” (1978), I identified how her Tanztheater approach democratised dance, making it accessible beyond elite training. This process demonstrated a limited but evident critical approach, as I weighed ballet’s strengths—such as its discipline—against its constraints, like cultural exclusivity. Furthermore, discussions with peers revealed a range of views; some defended ballet’s legacy, while others advocated for hybrid forms. Drawing on these perspectives, I applied problem-solving skills by creating a short choreography blending ballet and contemporary elements, which helped me interpret complex ideas about dance evolution. However, this was not without challenges; initially, my ingrained habits resisted the improvisational freedom of contemporary styles, underscoring the belief’s deep entrenchment.
Conclusion
In summary, questioning the supremacy of classical ballet was prompted by encounters with contemporary dance practices and theoretical critiques, leading to a more inclusive understanding of dance as a multifaceted art form. The outcome was transformative: I developed a broader repertoire, integrating diverse techniques into my performances and studies, which enhanced my versatility as a dancer. This reflection underscores the importance of critical thinking in dance education, encouraging students to evaluate traditions rather than accept them unquestioningly. Ultimately, it highlights the limitations of singular perspectives and the benefits of embracing dance’s evolving nature, fostering greater creativity and cultural awareness in my ongoing academic journey.
References
- Adshead, J. (1988) Dance Analysis: Theory and Practice. Dance Books.
- Banes, S. (1994) Writing Dancing in the Age of Postmodernism. Wesleyan University Press.
- Climenhaga, R. (2013) Pina Bausch. Routledge.
- Copeland, R. (2004) Merce Cunningham: The Modernizing of Modern Dance. Routledge.
- Homans, J. (2010) Apollo’s Angels: A History of Ballet. Random House.
