The Myth of Hard Work Alone

This topic is important on so many levels. It’s important because understanding your anatomy and your body helps you to train intelligently and efficiently. It’s also important because every ballet school has an ethical duty to educate their students on the various factors that will impact their progression, and we need to make clear the distinction between what is and what isn’t within a student’s control (and to what degree). It’s simply not ethical to propagate the idea that the only reason a student isn’t achieving certain technical milestones is because of hard work or the amount of hours they are training. I’ve seen this narrative pushed by teachers and pushed in ballet marketing in order to sell programmes or classes—and a lot of the time, it’s just not true! The technical demands of ballet will come more naturally to some students over others, and everyone has their own technical limits and/or advantages defined by their anatomy, skeletal structure, body proportions, ligamentous laxity, and more.

Some uncomfortable truths:

• Not every dancer can achieve the splits or extreme flexibility.

• Stretching may increase the height of your extensions, but only to a degree.

• Your lack of turnout won’t be resolved by more classes; it may simply be your joint structure.

• Pointe work will not be possible for everybody.

While it’s a beautiful idea that hard work and drive are the only determinants of our ballet evolution, it’s simply not accurate. It’s become very important for me to reiterate this again and again as I’ve seen the rise of frustration in long-term adult students who hit a wall. They often have the belief that they will eventually overcome it (it’s just more time and practice, right?), but then feel frustrated when this doesn’t happen. Unfortunately, it’s not always about effort; whether you spend 100 hours in the studio or 1000 hours in the studio, your hip structure (the way your bones are organised) is more or less fixed. It’s a totally false promise that EVERYTHING is possible or that certain technical ambitions are guaranteed if one just puts in the hours. This is not meant to be discouraging! I sincerely believe students should be aspirational, and I’m confident none of us are anywhere near our personal physical limits. This article is is a plea to push ourselves in the correct ways; working with our bodies, not against them.

What if I started younger? 

Whilst children are still developing and are more malleable in some regards, they are not immune to this truth: the physical demands of ballet favour certain genetic attributes. It’s important to note that the rise of social media has truly distorted this reality. It might seem that EVERYONE on the internet has flat turnout, high extensions, and crazy jumps. So why not you? With improved training techniques and drastic developments in sports science, more and more dancers are achieving increasingly impressive things with their bodies. It may even seem that the baseline of ballet has shifted so drastically that we are the only ones left behind!

But it’s important to remember that when you look at professional or pre-professional dancers, everybody exhibits these physical attributes precisely because they have gone through a selection process that is so rigorous and demanding that anyone without a genetic disposition favourable to the demands of ballet simply would not make it. Of course, these dancers have worked hard beyond belief. But not everyone is able to achieve what they have achieved because they may not have the ‘genetic foundation’ to build upon. Ballet is elitist and selective, so we should not be using professional dancers (who meet these standards) as a benchmark for what is possible in the average body (or in our body). A good way to put it is that luck can’t make you a professional ballet dancer, but you do need a bit of ‘genetic’ luck to start with.

Should ballet be more inclusive? Are the physical expectations and aesthetics of ballet exclusionary because they depend so much on genetic advantage? Yes, of course—it’s a really interesting conversation and a timely one, given the Olympics and all the talk about this exact topic. In every physical endeavour in the world, genetics play a role, and ballet is no exception. But the ethics of this and its relevance to the arts versus sports is an interesting topic for another blog post!

How do genetics link to turnout, posture, pointe, and flexibility? 

With all of that out of the way, let’s take a closer look at the role of genetics in these key areas!

Turnout

Turnout is the outward rotation of the legs from the hip joints, ideally reaching 180 degrees when combined from both legs. It’s a fundamental aspect of ballet technique, and many of the aesthetic ideals centre around this principle—a flat fifth position, arabesque lines, the position of the legs in a turn or in extensions. So what are the genetic factors influencing turnout?

Hip Structure:

• The structure of the hip joint plays a major role in turnout. The hip is a ball-and-socket joint, where the femoral head (ball) fits into the acetabulum (socket). The acetabulum's (sockets') orientation affects the ease of lateral (outward) and medial (inward) rotation of the femur. For instance, if the socket is already oriented slightly outwards, you have a natural advantage for turnout because your starting point or baseline includes some rotation (favourable for ballet dancers). If your acetabulum is oriented facing slightly inwards (towards the midline of the body), more outward rotation of the femur is required to achieve turnout. Whether the acetabulum is shallow or deep and the length of your femoral neck also impact your range of motion.

Ligament Laxity:

• Ligaments are connective tissues that stabilise joints. Those with more elastic ligaments may achieve a greater range of motion in their hip joints. The trait is almost certainly hereditary. Several recent studies have found that a very high percentage of ballet dancers within professional company settings have above-average ligament laxity (you may have seen studies about the prevalence of hypermobility in professional ballet dancers, with estimates ranging from 60-90%). This is yet another thing that illustrates how ballet progresses people with a disposition to meet its demands. (There is debate as to whether ballet creates hypermobility or whether those with hypermobility are just more inclined to progress within ballet settings. It’s unclear, but everyone agrees that genetic ligament laxity plays a role when it comes to extreme turnout and mobility).

• Please note: It’s important to distinguish between hypermobile joints and hypermobility disorders. Hypermobility disorders such as EDS are genetic and are not considered favorable to ballet because of the way in which they can cause challenges with balance, stability, coordination, and chronic pain.

Pointe

High arches, or a pronounced instep, are an aesthetic ideal in ballet because of the desire for a defined, long line and the demands of pointe work. Again, genetics plays a huge role here:

Bone Structure:

• The height of the arch is largely determined by the shape and structure of the bones in the feet. The length and curvature of the metatarsal and tarsal bones, as well as the arrangement of the foot's longitudinal arch, play a crucial role in the formation of high arches. While you may notice improvement in your feet with time (many adult ballet students do), this is usually us moving towards utilising the bone structure that we have and developing more toe dexterity and overall mobility in our existing foot—rather than changing the structure of our foot in any way. There is an upper limit to how ‘arched’ our foot can be, and this is predetermined. You will notice several non-dancers have extremely high arches and were simply born this way. In contrast, lots of long-term dancers have flatter feet in comparison and struggle with foot articulation even after years of training.

Muscle and Tendon Length:

• The length and elasticity of the muscles and tendons in the feet and lower legs also contribute to the height of the arches. The plantar fascia, a thick band of tissue running along the bottom of the foot, helps maintain the arch's shape. Some people are genetically predisposed to have more elastic connective tissues. This can impact the flexibility of the plantar fascia, affecting its ability to stretch and absorb shock also.

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There are things we can do. We can focus on strengthening the intrinsic muscles of the feet and improving overall foot alignment. Avoiding pronation and supination aids appropriate muscular activation and stability in the lower body. We can focus on strong relevés to support more efficient push-off during jumps and well-pointed feet. But we can’t fundamentally have high arches if our bone structure limits that because we are flat-footed. There is always scope to improve within a range, but the end points of the range are fixed, especially when it comes to the feet.

Spinal Curvature and Mobility 

The spine has natural curves that vary among individuals. These include the cervical (neck), thoracic (upper back), lumbar (lower back), and sacral (base) curves. The degree and shape of these curves can affect a dancer's posture and flexibility:

Natural Curvature:

• The natural curvature of the spine is influenced by genetics. For instance, a dancer might have a more pronounced lumbar lordosis (inward curve of the lower back) or thoracic kyphosis (outward curve of the upper back). Spines with ‘excessive’ curvature may find launching or landing in jumps difficult. It can also significantly impact everything from turnout to balance to turns and extensions. Whilst some curvature is postural and to do with muscle imbalance, sometimes this is not. For instance, scoliosis (a sideways curve of the spine) and spina bifida (a gap in the spine) are both genetic and may impact posture substantially when it comes to the demands of ballet.
  
  

Vertebral Shape and Flexibility:

• The shape and flexibility of the vertebrae and intervertebral discs are also genetically determined to a degree. Some dancers may have more mobile spines, allowing for greater backbends and flexibility in the torso. For those of us with a more rigid spine, the range of motion can be very impacted. Even with training, the flexibility in the spine may be too limited for large, expressive backbends.

The Q Angle 

The Quadriceps Angle is an anatomical measurement used to assess the alignment of the knee joint relative to the hip and ankle. The Q angle is the angle formed between two lines: one drawn from the anterior superior iliac spine (a bony prominence on the front of the pelvis) to the centre of the patella (knee cap), and the other from the centre of the patella to the tibial tuberosity (a bump on the tibia where the patellar tendon attaches). A larger Q angle can lead to improper tracking of the patella, potentially causing knee pain or dysfunction. Genu Valgum, sometimes referred to as ‘knocked knees’ is a condition where the knees angle in so much that they touch each other when the legs are straight. These misalignments can affect how forces are distributed through the knee joint during activities (e.g. jumping). Higher Q angles are sometimes associated with a higher risk of knee injuries or anterior knee pain.

The Q angle and turnout

But it also links to turnout! Remember, the Q angle reflects the alignment of the femur relative to the tibia. So a larger Q angle generally means that the knee is positioned more inward relative to the hip; this affects the mechanical alignment of the entire leg. This inward positioning can cause the femur to naturally rotate inward to accommodate the altered alignment of the knee and hip. Therefore, with a larger Q angle, the femur may be positioned in such a way that achieving outward rotation (or turnout) from the hip joint becomes more difficult. In other words, the inward alignment of the knee can limit the range of motion for outward rotation (turnout) at the hip. A larger Q angle also impacts overall alignment, influencing balance and stability.

Flexibility 

Genetic predispositions will also determine an individual's natural baseline flexibility, affecting how easily they can increase their flexibility with training. Connective tissue composition is also important. The properties of connective tissues like collagen and elastin, which contribute to muscle elasticity, have a genetic component. Some people are naturally more flexible due to a higher proportion of elastic connective tissues.

Let’s use a specific example, focusing on hip flexibility. In this region, flexibility refers to the ability to move the thigh bone (femur) within the hip socket through a wide range of motion. In addition to the structure of the joint (as discussed above), the length and elasticity of the muscles and tendons surrounding the hip joint are important. For instance, longer and more elastic iliopsoas and hamstring muscles can enhance hip flexibility (because they are hip extensors—they extend the hip. The same is true of the feet. The elasticity of the ligaments and tendons in the foot and ankle determines the range of motion and flexibility. This affects how well a dancer can articulate and point. The Achilles tendon attaches the calf muscle to the heel of the foot. It is important in shock absorption and also for generating power through the foot and ankle. It’s length and flexibility are particularly important for achieving a high demi-pointe and full pointe (and for jumping activities).

Is that everything now?! 

Those are the most important bits, but there are other things to note too…

• Proportions and Body Shape: The overall proportions and shape of a dancer's body, including limb length relative to torso length influence the appearance of lines. It’s no secret that many prestigious ballet schools around the world consider a dancer’s body proportions before admitting them. Comparing the length of the upper and lower body is common, as well as looking at the length of the neck. Again, I’m not endorsing this, simply pointing out that the ballet aesthetic is inherently exclusionary in the sense that it idealises a very specific body type that is not typical for most people. The classic arabesque line and leg extensions to the front, side, and back are again defined as ‘good’ relative to very specific body proportions and limb lengths.

• Strength and Muscle Fibre Composition: The composition of muscle fibres—whether predominantly slow-twitch or fast-twitch—affects a dancer's strength and endurance. Dancers with a higher proportion of fast-twitch muscle fibres naturally have more explosive power, aiding in higher and more powerful jumps. Training can enhance this ability, but once more, genetics set the foundation. If you are a teacher and have ever taught children, you will have noticed that some children have a naturally better elevation or ‘bounce’ in their movements compared to others. This is long before there has been any great difference in training.

So the ‘bad news’ is that yes, genetics play a significant role in determining A LOT. It influences everything from turnout, foot articulation and mobility, to lower leg alignment, overall flexibility and jumping power.

So what can I actually control then?!

It can feel disheartening at first, but remember genetics influence your ‘upper limits’ or the end ranges. Most likely, none of us are anywhere near having optimised our physical strength or flexibility. This knowledge does not mean that you should stop aspiring to technically improve. What it does mean is that you should underpin your efforts with a sense of self-kindness and compassion, knowing that a failure to recreate what you see on Instagram or on the stage isn’t a personal failing—it’s just a natural variation in how your body works compared to someone else’s. It’s also about gracefully accepting that even with all the hours and training in the world, not everything will be anatomically possible in your body.

If you can truly adopt a sense of curiosity in working with the body you have, you may even notice better results. For instance, try to experience where your turnout currently is and work from there so you actually ACTIVATE your muscles and strengthen them, rather than fighting against the structure of your hip joint or compensating with rotation from the knee or ankle! Or if your spinal mobility is limited, find ways to create a sense of fluidity or expressiveness in your port de bras, rather than compensating by pushing your hips forward or misaligning your pelvis. If you struggle with foot shaping and articulation, work on strengthening your lower leg muscles and having clean ankle alignment. Strengthen in the places where this is possible. Knowledge is power—especially in ballet! Better understand the workings of your body so you know where to direct your efforts for maximum reward!

Should we change the way we teach adults?

As teachers, it is our moral obligation to have some difficult conversations. It’s rare, but once in a blue moon, there is a student who simply does not have the foot mobility to ever safely undertake pointe or who will not get past a certain degree of turnout. However awkward this conversation is, it’s our responsibility to protect their interests and openly communicate to avoid the risk of injury or misalignment in their technique. We should simultaneously be extremely mindful to avoid judging a student’s potential based on how they are currently working. The body is a complicated web of functions and processes, and its potential is often surprising. That being said, where an anatomical restriction is extremely evident, it’s important to verbalise and validate this rather than ignoring it.

Acknowledging the role genetics plays in ballet is not about excluding people. To the contrary, it’s redefining how we approach ballet, transitioning from a rigid, extremely limited pursuit of technical demands to a slightly more fluid and holistic interpretation of ballet technique. We can still aspire towards the technical ideals of ballet whilst prioritising the functional use of our bodies. So instead of screaming ‘turn out the feet’ or shouting visual cues which focus only on how the movement should look to an observer, we can cue students on how movements should feel in their body. We can honour the essence of ballet technique without disregarding the bodies that are actually in the studio with us and the ways in which they are working (and can work).

A final thought:

If you are a typical adult ballet perfectionist - self-critical, constantly scheming about how to work harder to get to the next milestone—well, I hope this article feels like a sigh of relief. I hope it gives you permission to dance with the body you have! There are many things ballet teaches us—one is self-acceptance. Understanding how to use and develop YOUR body is your work. We can’t do this if we are still trying to distort and contort it into a body that it isn’t.

I’ll leave you with this final reminder—many, many, many captivating and iconic dancers do not have flat turnout, the best extensions, or the highest jumps. All dancers win the genetic lottery in some ways and not others. Dancers are athletes — so test your limits by all means. But first and foremost, dancers are artists. You don’t need perfect technique to be an artist. Sure, it helps—but it isn’t everything. Knowing your ‘upper limits’ is a superpower; it allows you to intelligently direct your attention to where your efforts will be most productive and most rewarded.

This article isn’t just about finding your genetic limitations in ballet; it’s also about attuning to your genetic advantages and making the most of them. Pay very close attention to what comes easily or more naturally to you and truly nurture it. In all the years I’ve worked with students, I’m yet to find someone who didn’t have at least one thing going in their favor.