Last weekend, the 2010 film Black Swan was on TV. I had never seen it, but I knew it was a psychological thriller/horror film. I have never enjoyed horror as a genre, but I have always loved ballet, so decided to give it a try. The real world has plenty enough horrors for this sensitive gal, and up until quite recently in my life, I had trouble separating fiction from reality when it came to watching anything really frightening or gory on a screen. I can now say, "It's just a movie" (with varying levels of success). I lasted through an hour of Black Swan. (I did say 'varying'). I searched up the synopsis, found out there was a lot of dancing at the end, turned the channel to something else, and then tuned back into the film for the last fifteen minutes. You may say 'wimp'. I say 'self care'. That whole scene with the broken glass tipped the scales for me.
The incredibly competitive nature of ballet, the toll on the mind and body, the sometimes boundary-crossing nature of the student/teacher relationship, and the shortness of the career of a prima ballerina were all aspects of the professional world of dance covered in the film. The two stars, Natalie Portman and Mila Kunis said they had no idea how competitive ballet was, and how rigorous the life of a dancer, until they were making the film. Natalie had danced until the age of thirteen, and still had a fairy-tale dream of it all, while Mila had no experience. They both worked with professional teachers and lived on carrots and some kind of lean protein until they were down from their already svelte figures to those of professional ballet dancers, a loss of twenty pounds each. They both also said the film changed them and their careers forever. Natalie Portman won her first Oscar for her role in Black Swan, and Mila Kunis was taken seriously as a multi-faceted actor from then on.
Black Swan is meant to highlight the perils of perfectionism, as Natalie Portman's character demands nothing less of herself and descends (further) into madness. I couldn't help but think of real-life dancers like Evelyn Hart, the great former prima ballerina of the Royal Winnipeg Ballet. She battled anorexia nervosa throughout her career. She often reached perfection in her dancing, but at what cost I wonder. She also reportedly felt forced out of the RWB on account of her age. She is now teaching and encouraging young dancers. I hope she is a good mentor.
My mom put me in ballet at age five or six for a year or two, then again at age ten until the fabulous new teacher who said I showed promise moved back to Winnipeg. I took it up again, along with jazz dance, at age sixteen and danced intensively for four years. If I had trained consistently, from age six, my skill would have been much higher, but I still enjoyed my time struggling and striving at the Question of Balance School of Dance. My teacher told us about how her career had been cut short after she was pressured to dance on an injured foot. She was determined not to ruin our bodies, too. We danced in a former schoolhouse with the old cloakroom acting as dressing room and a rural view of the river from the many windows of the main classroom. Our experience was a far cry from the set-in-New York City Black Swan. The other girls were kind and encouraging to me, and we had a lot of fun together.
I used to lie in bed at night begging God to let me be a dancer. After four years I asked my dance teacher if she thought I had what it took to pursue a career in dance. She suggested a dance-adjacent career like arts journalism or administration. While discouraged, I auditioned for Simon Fraser University's dance program anyway. I remember the audition process being pretty standard if all the dance movies I had watched were anything to go on. I was fairly proud of myself for keeping up to the other dancers and giving it my best effort, even after overhearing a couple of boys backstage rating all of the girls' bodies - I was used to that, too, although it made me angry. I did not make it in to the main program. They sat a group of us down and said we should take a year of dance classes in the department, along with other general first year courses, and reapply the next year. I was crushed, and believed the writing was on the wall. I decided not to attend SFU and went to UBC instead to study English and Humanities with a view to becoming a teacher. All my life people had told me I would make a good teacher. Only my mother had really encouraged me to seek a life in the world of dance. If not for her I never would have tried.
I do think you have to be physically and mentally tough to embark on a career in dance. Black Swan is an extreme example of that world, but the competitiveness and the toll on the body are real. Young girls romanticize careers like ballet and modeling, but they can be brutal for women because they are such demanding and relentless ways of being. Something the current generations are good at is questioning and demanding answers for why the generations before them accepted certain attitudes. My generation grew up with hustle culture, 'no pain, no gain', diet culture, and body negativity, and I know the current generations are pushing back against these social norms. I hope that increasingly, dancers, models, and actors don't have to nearly kill themselves, or shove aside their ethics, for the sake of their craft.
I still enjoy ripping it up on the dance floor. Once in a while, someone will come up to me and say, "I love watching you dance!" and that's such a good feeling. Some things we can do simply for the joy of it.
'til next time,
Rebecca