Aiming for the instructions given during a ballet class to match biomechanical reality

by Simona Noja-Nebyla

As I am definitely interested in evidence-based information on dance pedagogy, I found an article from IADMS that I believe is relevant. I synthesized the main points of the paper “Dance Pedagogy: Myth Versus Reality”: https://iadms.org/media/5552/iadms-resource-paper-dance-pedagogy-myth-v-reality.pdf

The core idea of the paper is something we all, those from inside the ballet world, sort of know, but we do not know exactly how to deal with it. 

Here are the main themes:

• Traditional ballet teaching often relies on passed-down methods and imagery, not scientific evidence.

• Biomechanics research shows that many teaching instructions don’t match how the body actually works, which can affect performance and increase injury risk.

To calm down all the ballet teachers reading the above information, these situations happen, more or less, to everyone in the field. My point is first to acknowledge it, and then to change it. It is not a shame to recognize that you do not know everything. It is an act of maturity, though, to be aware of what you don’t know yet! Even more, it is an act of responsibility to differentiate a part of the truth from the whole truth! (Some people meet a lot of resistance here.)

So, let’s move towards a deeper understanding:

• Dance teachers typically teach what they were taught, perpetuating misconceptions.

Because “advances in biomechanical analyses have allowed dance researchers to ‘see’ what is occurring during skill execution,” we are lucky to get updates from dance science and realize what and how to fix it. Scientific understanding of movement has developed slowly in dance education, but now we have it!

Here are the main themes we focus upon:

• Alignment is usually taught as static and constant.

I know that we have to teach first what correct alignment in classical dance is (here comes into play teacher-based learning). We know, though, that correct alignment is not equal to “perfect” posture. It is dynamic and individual; it actually changes depending on position and movement. This is the reason why we introduce, at this moment, the subject-based learning method, where “correct alignment in classical dance” for that specific body and those specific abilities of the student matters. Only this specificity matters! It matters how you (as a teacher) can transfer the knowledge of “correct alignment in classical dance” to your student. (It does not matter the ideal form of body and line that they cannot obtain.) This is the “subject” you want to teach. Proper alignment matters not only for the aesthetic of classical dance but also for injury prevention, understood realistically.

• The barre work is used for support and skill-building, but movements at the barre differ biomechanically from center work.

Bear in mind that it may reduce muscle activation and balance training! Dancers may over-rely on the barre, and the transfer of skills from barre to center is uncertain and possibly negative.

How can you change it? Using student-based learning brings a new dimension of critical thinking for the students. After they learned the new dance element at the barre (proper and stable), you may let them figure it out by themselves in the center. Self-study of the dance element inspires the student to let themselves be led by intuition. It accompanies them in taking more responsibility for their development. It must be done under the keen eyes of the teacher, whose responsibility is not to let mistakes or false interpretations of the movement occur.

• Misconceptions in Jumps & Technique

Research contradicts common teaching cues:

Grand battement:  use no body involvement other than just the working leg. 

No, No, No! Adjust the position of the body slightly when doing grand battement to the front, side, or back. Tiny adjustments of the body in relation to the leg movement create wonders! You may include pelvic tilt and knee flexion (contrary to instruction).

Here is a moment I would like to remind you of the “optical illusions” old architects used in building temples. For more information, check out what made the Parthenon look perfect.

Jumping (allegro):Deeper plié ≠ higher jump.“Suspension” at the top is an illusion.Turns begin at takeoff, not mid-air.Forcing heel contact on landing may increase injury risk.

Turnout:Maintaining full turnout at all times may be inefficient or unrealistic.

Ballet class structure is generally sound and progressive, but we must remember that there is a gap between teaching methods and actual biomechanics. Incorporating scientific knowledge can improve technique and performance, reduce injury risk, and help train stronger, healthier dancers.

My bottom line after reading the article is to differentiate long-standing ballet “rules” from myths or oversimplifications, while integrating biomechanics and evidence-based practice.

And of course, don’t fall into the trap of “feeling inferior in front of science,” because knowledge, intuition, common sense, taste, and your aesthetic embodied experiences rely upon 400 years of practice!

PS You are welcome to join me for discussions (free entrance) on: https://www.skool.com/catch-the-beam-to-your-dream-5337/about