‘I want to be perfect.’ The impact of balletcore on our generation

 A famous quote from fictional character Nina Sayers in 2010 film ‘Black Swan’ perfectly encapsulates the inner monologue of every professional dancer. The strive for perfection in their art form, but is this exclusively in the context of the physical sport? 

Ballet in particular has demonstrated an emphasis on perfection beyond the realms of precision in the movements, but also in the petite presentation of the body. We’ve heard what the industry can drive people to do when feeling as though they face no alternative to achieve this ‘requirement’ — so I’m left a little confused as to why we glamourise the grit? 

I’m not talking about the pink bows, the shrugs and the leg warmers. I’m talking about the frame in which they have to fit. The aesthetic wasn’t intended to be pink, but intended to be perfection. 

Backstage wasn’t always the glamourous girlhood we now have access to see, but another hidden exploitative pool of young girls. 

Some background on backstage 

Similarly to many disciplinary art forms, ballet originates from aristocratic roots dating back to the Italian Renaissance. Despite developments, these roots haven’t been lost, as we still see the essence of Renaissance performance in bows — the same ones we see in paintings from the time, the depth of the bow to your superior signifying respect. To maintain this entertainment for the wealthy, Louis XIV opened l’académie royal de la danse in 1661 to train professional dancers to perform in his court. 

Traditionally a male dominated art, the feminisation of ballet is debated amongst historians. With some arguments pointing to the increase of folklore characters in performances (men just weren’t whimsical enough unfortunately). And others such as the view of Ilyana Karthas discussing the increase in male audiences and the sexual commodification of dancers. A third interpretation offers the influence of the French Revolution and the general opposition of aristocratic traditions and art forms. 

But throughout the 19th century, the Paris Opera Ballet faced an ‘epidemic’ of sexualisation and exploitation. Young girls would train intensely throughout their childhood, competing for a place in the ‘corps de ballet’ — often consisting of lower class girls frequently subject to degradation. Including the presence of the male sponsors of the opera, who were allowed backstage access to watch the dancers train. But most notably, were able to influence who got roles in the ballet and who got fired. Given their societal position, there was no way out for these girls. These dealings behind the curtain were no secret to society, with girls in leading roles being looked down upon regardless of how they gained this position due to awareness of the atmosphere backstage. 

This negative view of ballet largely persevered until the 1920s when the fitness industry redesigned ballet in a positive light. Promoting athleticism as well as femininity, reclaiming the possibility of both, not born out of male funding and influence. 

And since, we’ve seen it inspired in mainstream fashion, tulle tutus influencing Coco Chanel’s tulle dresses of the 30s. We’ve seen it in ballet flats, bodysuits and bows: now all part of today’s casual wear.

So what’s the problem? 

For the promotion of the sport, Balletcore is very much successful and beneficial. However, we must consider the connotations of ballet, how and where it’s been used before to promote ideals to young women, and most importantly why. 

Within the past five years, similar trends have cropped up: from the ‘Clean girl’ in 2022, to 2023’s ‘Pilates princess’, and ‘ballet core’ being popularised between the two. The three draw similarities from one another, most noticeably, the emphasis on femininity and their physical representation: petite white women. 

Considering this, our understanding of the aims of these aesthetics changes. Realising that these trends aren’t promoted primarily to encourage the growth of women within realms that previously restricted them, as it’s still promoted by the same people: rich men. Another question of whether women participating in these trends is truly empowering? 

But rather than dwelling on what we can and can’t do, it’s better to show awareness of this messaging promoted by businesses encouraging these aesthetics. And when participating doing it out of your own interest, not because TikTok told you to. I love the increase in women dancing these styles who had previously turned away from them out of fear of embracing ‘femininity’. It opens up a tough conversation about what ‘femininity’ truly is as the definition changes depending on the context as well as who’s having the conversation. 

Either way, the ballet industry in particular has a dark history. But one that can develop in a new light so long as we keep these conversations at the forefront of these repackaged trends of female perfection. 

What are your thoughts on the balletcore trend making a reappearance?