What would you expect the answer to this question to be? Sadly, gender bias, gender inequality, bullying, and stereotyping––all of these are alive and well in ballet and, indeed, the broader community in 2019.

A recent derisive comment by Good Morning America host Lara Spencer in relation to Prince George’s participation in dance classes drew widespread condemnation. Regardless of the heartfelt and very public apology, Spencer’s comments spotlight the everyday experiences of many aspiring and currently dancing male dancers and, indeed, anyone who does not conform to narrow ideas about masculinity and femininity. It would be very surprising if anyone were to make a similar comment about Princess Charlotte participating in a dance class.

Ironically, due to the strength, flexibility and stamina required to participate in ballet, participants in other sports have been known to call on the skills of ballet techniques to assist them when trying to deal with persistent injuries. In particular, AFL footballers have been turning to ballet dancers and ballet physiotherapists hoping to overcome potential career-ending injuries and get players back on the field. Yet still the negative behaviour continues. A 2018 documentary–’Danseur‘–brings to light the many issues facing boys and young men as they pursue their dream of becoming a dancer.

While it is mainly the men in ballet that have to deal with negative stereotyping and bullying, gender bias and inequality also affect women in ballet. A report released in 2018, Turning Point, showed that while seventy percent of those working in the dance industry are female, less than thirteen percent of full length works were choreographed by women (although this number appears to be rising). Additionally, of the five major dance companies in Australia, none of the artistic directors appointed are women. When Australian Ballet artistic director, David McAllister concludes his role in 2020, the most likely prospect for his replacement is a man, with only one of the possible replacement candidates being a women. This imbalance is part of the apparently accepted norm for women in the professional dance sector. As in many other industries, women in dance are subjected to the double standards that keep them under the so called ‘glass ceiling’. Traits that are readily accepted and even sought in their male counterparts, such as confidence and leadership, are perceived differently when applied to women.