WHAT ARE "GOOD FEET" IN BALLET? by Dane Youssef

WHAT ARE "GOOD FEET" IN BALLET?


by Dane Youssef


It is a part of immortal history that Margot Fonteyn was not only a prima ballerina, but was named “prima ballerina absolutta” by the British Empire as well as given the rank of Dame. History looks at her as one of the finest there ever was in the sport despite her notorious “bad feet.”


Yes, that she had “bad ballet feet” is also a part of history–but this is only known to die-hard fanatical balletomanes. You know, people actually in the professional dance industry.


But unless you’re really savvy about the craft, you must ask, “what are ballet feet? What are bad feet for ballet?”


The kind of feet that are best equipped for ballet–high arches, high insteps. That will suit jumps, pointe, piroutte, tendus and whathave you. From being able to arch your foot and being able to balance on the metatarsal.


What this refers to is the fact that her feet had low arches, like “sticks of butter” and her legs were quite short for a ballerina. On a ballerina, long legs and arms are a must. Absolutely nessicary as being able to stand up and walk. And Fonteyn’s were considerable short, and yes–flat feet.


Look, I myself have been praised by ballet pros for my very own feet–made for ballet, which I’ve been taking for nine whole years. Take it from someone who’s done the craft and played the sport himself for almost a decade:


You don’t just have to be born with it.


If you want the glorified curve in your foot, for it to stand tall and prominent, you’ll just have to work at it. Doing pointe exercise with an elastic band until those arches come up. Mold your feet into the proper shape like they’re made of clay.


Yet this little woman, one Margaret Fonteyn was given the title of “prima ballerina absolutta,” an honor given to the precious ballerinas who seem to be heaven-sent in the profession. Madams Anna Pavolva, Natalia Makarova, and of course, Fonteyn.


Makarova is one of all-time favorite ballerinas, and I don’t feel she gets the noriety she oh-so richly deserves. She should be right up there with Baryshnikov and Balanchine. And Nijinsky, even. Now Makarova had all the advantages. The lucky commie bitch was practically born with them.


She was a mere 5’3″, but her arms and legs were long and willowy as a tree. Makarova had an impossibly slender body, cheekbones that stood out prominently on her , and feet that were long and yes, very well-arched. She was pretty much born for ballet-pro.


Ballet master and innovator himself George Balanchine critiqued the first lady of Royal Ballet herself Margot as, “Hands like spoons, bad feet, can’t dance at all.” But he also attacked Rudi as, “a passable dancer who’s problem is he always tries to be the prince.” Mr. Balanchine wanted the only star of his ballets to be his own choreography. Any dancer who’s career and reputation outshined his own made him feel threatened. He founded a school and company where he was God. That’s why he called his students/employees “dear.” He liked to think of them as his own children. One of those true artistes’ who was all ego. Look, I’ve been praise by ballet pros for my own feet–made for ballet, which I’ve been taking for nine whole years. You don’t just have to be born with it.


If you want the glorified curve in your foot, for it to stand tall and prominent, you’ll just have to work at it. Doing pointe exercise with an elastic band until those arches come up. Mold your feet into the proper shape like they’re made of clay.


Look, kids: Technique is one thing. But Margot had a way of onstage, a charisma and persona that isn’t really taught. Makarova’s technique was flawless. She was born for technique. But technique can be taught. Margot had a way that transcended mere skill or exact body type.


Fonteyn was an icon in her field, regardless of how goddammed “proper” her feet (or her short legs) might have been. There is more to the ballet than mere physical dance. She was a ballerina.


So take this to heart, dear friends and readers, scholars of the ballet: the exact body type, feet, etc. is not written in stone or law. While the conventional way increase the odds of you getting classical roles and employment sooner–perhaps–remember, the ones that break the mold are the ones people remember. The ones who are granted Damehood. Absolute Prime Ballerina.


Remember, dance is an art form. A form of self-expression. And when you are not true to yourself or don’t have the faith, there’s just nothing there at all. No art. No dance. No beauty. No truth.


Nothing.


--For Ballet Itself, Dane Youssef



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