English National Ballet
Although that instep is AHHMAZING, something about it looks aesthetically not pleasing
I can’t explain it but I sort of feel the same way?
I feel the same and I think I know what it is but I can’t explain it and I hate when I can’t explain what I want
Because she uses a fake arch!!!!!!!!!!! SHE PUT A SMALL THINGIE ON HER FOOT TO MAKE THE ARCH BIGGER BUT IT ACTUALLY MAKES IT LOOK TOO BIG!!!! YOU CAN SPOT THAT THINGIE ON THE LAST SECOND OF THE GIF!!!!
This girl at my ABT audition wore those. She adjusted it before putting on her pointe shoes. -___-
yo the fake arch hate is too strong here, I think if they make you feel good about yourself and confident in auditions then who cares
it’s like wearing a push up bra
if that makes you feel sexy and cute THEN WEAR IT
It’s not about looking sexy or cute.
I’m all for confidence in yourself, especially when you’re at an audition with hundreds of other girls. You want to look your best so that you can perform and book it!
But arches come with patience and hard work. If you’re not one of the few who are blessed with amazing arches (which I’m not), then you have to stretch them over the years just like every other ballerina. So imagine working on your arches for years, stretching them with various contraptions and foot positions, and then seeing a professional use an arch enhancer. I’m not hating on it, but it’s a little disheartening, you know?
Calling it a “fake arch” is very misleading because in actuality it is a fake *instep*. You can stretch and work your feet all you want but NO AMOUNT OF WORK will ever give you an instep. Instep is bone structure. Something you’re born with. I am someone who was born with flat feet and no instep. I’ve worked for years and finally my arch has raised a little, but an instep is something that I will never have. Imagine working for years on your feet only to be looked over because you weren’t born with a huge instep like the girl behind you. I don’t wear fake insteps anymore but I understand the logic and reasoning behind them. Some people see this as a way to level the playing field or at least feel like it does and therefore will be more confident in auditions because they think they have a real shot now. It does not undermine the work of people who work hard on their feet because people with huge insteps never *had* to work on their instep. THEY WERE BORN WITH IT. I think if you work hard on your feet then you should be allowed to wear something that makes you love them more and there is nothing wrong with that
Good feet are ones that do the job that they are given - if your feet can do everything you need them to do for you as a dancer, en pointe and off, then they are good feet for you. “Fake arches” or insteps merely alter the line so it’s more aesthetically pleasing, which is a big part of the definition of “good feet” but not the only part. Fake arches don’t reflect on OR affect the technique of the dancer wearing them. While I find the line that the fake arches create to be pleasing on some dancers and grotesque on others, I would rather allow each individual dancer to tailor his or her line so that it is as aesthetically pleasing as possible rather than rule for or against the fake arches in a generalized way.
In other words, running with the bra analogy (this is probably a bad idea, sorry in advance) - if you ain’t got the titty to fill out that hot dress you bought, and it isn’t humanly possible to grow the titty, wear the damn dress anyway because life’s too short not to, and if it makes you feel better then wear a push-up in good taste and no one will be any the wiser. But make sure you know how to flaunt the dress, because no matter how fantastic the bra is it can’t replace your sense of style and ability to walk competently in heels.
that was literally the wisest response I’ve ever read
Photo posted by Fannie XF Wang
argh her emotions are so perf!
Eric Underwood as the Caterpillar in Christopher Wheeldon’s Alice’s Adventures in Wonderland, The Royal Ballet
(Source: Flickr / royaloperahouse)
Rudolf Noureev and Sylvie Guillem rehearsing the act III of 'Swan Lake', circa 1984. Photo by Gilles Tapie.