| Anyone who has seen a few classical ballets, or | | | | (outward rotation of the lower leg) is favorable in |
| modern ballets with dancers in white spandex | | | | that it can increase turnout look of the feet. |
| unitards, has figured out what the favored ballet | | | | * Adequate mobility of the ankle and foot so that |
| body type is: | | | | the body can be stacked up from a demi pointe or |
| *Small head***long neck***shortened torso***long, | | | | full pointe position. A less flexible ankle especially |
| thin, lean (but slightly muscular)legs* | | | | would have the dancer's weight slightly back. |
| This is a matter of genetics plus training, and it is | | | | Hypermobile feet are the fashionable shape, a highly |
| important for the dancer to have enough strength to | | | | domed arch. This is something you are born with, or |
| control motion. In non-ballet fields, these proportions | | | | not. However, ankle flexibility can be increased with |
| are not normal and may even be considered | | | | gentle stretching, over time. The hypermobile foot is |
| detrimental. | | | | not the best functional foot for ballet. Until it is |
| *Turnout of the leg from the hip joint. This would | | | | strengthened sufficiently, pointe shoes will break |
| depend whether the natural angle of the thigh bone | | | | quickly and the dancer will not have good control. |
| in the hip is angled outward or inward. Also, increasing | | | | Some talented dancers with lesser-favored |
| the flexibility of the surrounding soft tissues must | | | | proportions and muscle shapes rise in the ranks to |
| begin before the age of seven to significantly | | | | become soloists and character performers in classical |
| enhance the degree of turnout. However, serious full | | | | dance companies. Hard work, a winning personality |
| time ballet training should NOT start at age seven. | | | | and acting ability all help contribute to the success of |
| Well designed weekly classes with no rush on | | | | a dancer like this. |
| advancing from simple exercises (for instance the | | | | Yet body type has nothing to do with the love of |
| early Cecchetti or R.A.D. grades) is as complicated as | | | | dance or performing talent. If a dance student |
| training should get. | | | | realizes that she/he is struggling to accommodate |
| *Slight knee hyperextension has become a pleasing | | | | ballet positions, let them keep struggling. And also |
| line in ballet. The slight backward curve of the leg | | | | investigate other styles of dance where success is |
| enhances the look of the arch curve outward (yet | | | | more likely. Also look into whether or not fulfillment |
| undermines the function of balance). A dancer with | | | | may be gained better acting. |
| hyperextended knees must be taught to hold them | | | | Hitting the ballet body barrier never has to be a |
| straight, that's one more of the zillion things to think | | | | negative. It may propel a young person toward a |
| about throughout a dance class. This ideally would be | | | | different area of performing. And this person will |
| mastered before getting into pointe shoes. | | | | have gained dance technique, discipline, ability to work |
| *Bowleggedness is favored for the ballet dancer for | | | | hard, and they will be no longer doomed with their |
| both practical and visual reasons. External tibial torsion | | | | body type in the dance world. |