beyond the headlines: why dancers deserve more than a 'plus size future'

You may have seen the headline circulating recently:

“Royal Ballet School chief: plus-sized dancers are the future.”

At first glance, it seems like a step in the right direction. And in many ways, it is.

We need more public support for body diversity in ballet. We need more leaders speaking out. We need more dancers seeing themselves reflected onstage—not just in ability, but in body shape, size, and presence.

But as I read the article, I found myself circling back to a few thoughts I couldn’t shake. Maybe they’ll land with you, too.

what does "plus-size" really mean in ballet?

This isn’t rhetorical. In ballet, the term “plus-size” often has nothing to do with the actual sizing standards of the world outside the studio. (The conversation about standard sizing for women's clothing could be a whole other blog post series.)

Kathryn Morgan once shared that during her time with Miami City Ballet, she was labeled “plus-size” by company leadership—despite being a size 2. Similarly, ABT Principal dancer Devon Teuscher recalls being told she was a 'large' dancer on the Grace & Form Podcast.

Let that sink in.

So when headlines declare that “plus-sized dancers are the future,” we have to ask:

Whose version of ‘plus’ are we talking about? And what does that say about how far we still have to go?

quality over quantity isn't a loss—it’s a gain

In the article, Iain Mackay mentions that today’s dancers may be “dancing less” than in the past. Some interpret this as a decline in work ethic or discipline.

But I see it differently.

Dancers today are cross-training, fueling more intentionally (and like the ATHLETES they are), and recovering more deliberately. They’re receiving higher-quality instruction, performing amazing physical feats, AND preserving their bodies for long careers.

Less dancing doesn’t mean less passion.

It may very well mean more longevity, fewer injuries, and more dancers still loving dance years into their careers.

this conversation can't stop at ballet

This is about more than ballet companies or conservatories.

It’s about the messages dancers of all backgrounds—pre-pro, recreational, musical theatre, competitive, or contemporary—receive about their worth, their bodies, and their future in the artform.

When I wrote my open letter to dance teachers, I asked:

“When your dancers look back on their training, what will they remember? Will they thank you—for seeing them fully? Or will they carry your silence—or worse, your shame?”

That message rings just as true here.

size ≠ health. thin ≠ strong.

There’s a persistent myth in dance that health looks a certain way—and it’s pretty much always thin.

The reality is this:

You can be strong, fueled, and capable in a body that doesn’t fit the classical mold. You can be “plus-size” and be the hardest worker in the room. You can be small and still be undernourished and overtrained.

What matters most is whether dancers are fueled properly, supported consistently, and trusted in their training.

As I wrote in Prioritize the Dancer:

“We all, no matter the size, composition, etc. of our body, have our own internal dialogue we’re dealing with… What we don’t need is more external noise. Especially not judgment disguised as concern.”

let’s also talk about professionalism and trust.

Artistic directors have every right to envision the aesthetic of their company or a particular production. That includes selecting dancers with certain technical qualities, physical attributes, or stage presence.

But here’s where it gets complicated—and where I draw the line:

When those preferences shift after a dancer has already been hired.

When a dancer is brought into a company under one set of expectations, and then suddenly faces criticism for their body—without any change in ability, professionalism, or performance—that’s not about “vision.” That’s about power.

And it’s damaging.

Hiring a dancer only to turn around and make their body the problem erodes trust, disrupts their training, and undermines their artistry. It’s not leadership—it’s gatekeeping in disguise.

is it really resistance—or just a loud minority?

Sometimes I wonder: Is the discomfort around body diversity in ballet as widespread as it seems?

Or is it just a very vocal minority clinging to outdated ideals—while the rest of the field quietly moves forward, dancer by dancer, policy by policy, conversation by conversation? (I love this response post from the @ausdanceroverseas account.)

Because when I see dancers today—of all sizes—bringing power, artistry, nuance, and athleticism to the stage, I don’t see a future to fear.

I see a future to support.

a closing reminder

If you're a dancer who’s ever been made to feel like your body is “too much” or “not enough”—you’re not alone.

If you’ve been praised for shrinking, but not for your stamina, your presence, your artistry—I see you.

And if you’re a teacher, director, or company leader wondering how to support all dancers better—start by asking what they need to feel seen, not just shaped.

The future of dance isn’t one size, one shape, or one story. It’s as diverse as the dancers stepping into it.

Let’s keep pushing for that.

Photo by Kanji Takeno