Ballet Belongs to All of Us
By: Luz M. Iturbe Ortiz
I was just eight years old when I took my first ballet class, but honestly, no one saw it coming—not even me! When my mom asked me to pick an after-school activity so she could enroll me, she was expecting something that matched my wild energy. To both our surprise, I said,… ballet. It started as a way to escape the chaos of home life, but it quickly became my sanctuary. It was love at first plié! The music, the discipline, and the routine of the classes gave me a sense of peace and accomplishment, even when life felt uncertain. Yet, little did I know ballet would soon challenge me in ways I had not anticipated—emotionally, financially, and culturally.
Growing up in ballet, I was often the only Black dancer in the room or one of the few, facing racial discrimination. For dancers like me, the struggle goes beyond perfecting pirouettes. It is about challenging a system not designed for us—where our skin color, body shape, and even the texture of our hair are seen as obstacles rather than assets. With its deep Eurocentric roots, ballet left little room for dancers who did not fit its rigid aesthetic. From being typecast into roles that fit stereotypes to struggling with ballet programs that refuse to provide skin-tone tights and pointe shoes for darker dancers, the message was clear: we did not fully belong.
But we do. While Black ballerinas have gained more visibility in recent years, Afro-Latina dancers remain largely invisible, caught between two identities often overlooked in ballet. However, Afro-Latina ballet dancers are reclaiming space, rewriting narratives, and proving that ballet is for everyone.
Throughout my journey, I realized that change within the ballet world was necessary for me and others like me. I became determined to create pathways for Afro-Latina dancers, offering them the support and opportunities I longed for. This journey of self-discovery and growth led me to advocate for the Afro-Latino community in dance, particularly ballet.
With this in mind, I followed my passion and calling and pursued a master's degree in dance education. There, I conducted a research study called Pathways of Success for Afro-Latina Ballet Students in the U.S., diving deep into the unique challenges Afro-Latina dancers face in ballet. The goal? To highlight their barriers, bring awareness to their experiences, and share strategies to help more Afro-Latina dancers succeed and feel seen in this industry.
I spoke with six professional Afro-Latina ballet dancers and two community-focused dance school directors while reflecting on my journey as an Afro-Latina former ballet dancer and current educator. The stories and insights I gathered from these conversations were truly eye-opening.
Many of the dancers shared how they often feel discriminated against because of their skin color. They spoke about racial discrimination in the form of microaggressions, like issues with hair type, limited options for nude-colored tights, and biases around body image. They also shared the struggle of balancing their Blackness and Latinidad, often feeling torn between these two parts of their identity. Some even said their peers questioned their identity. Even though they did not always feel supported during their training, their families and Latino peers helped them embrace their heritage.
It is even more challenging for dancers who moved to the U.S. Immigration status, language barriers, and financial struggles are major obstacles that stop them from advancing in ballet. Many said it is important to be honest about these challenges and ensure immigrant dancers understand what they will face before entering the industry, especially since most programs offer little to no support in navigating these obstacles, leaving dancers to figure things out on their own.
When I spoke with dance school directors, they said we need more inclusive curriculums and faculty that reflect the diversity of the students—especially for Afro-Latina dancers, who often feel isolated. There is also a strong push to make teaching practices more culturally relevant, meaning we need to know the students and meet them where they are, culturally speaking.
If we want Afro-Latina dancers to succeed in ballet, we need a dance curriculum that is culturally relevant and genuinely centered on the students. Body image, hair type, skin-tone tights, and the language used in dance all play a huge role in shaping their experience in the ballet world. To prevent perpetuating and dismantling the Eurocentric standards that have long excluded them, educators must recognize how these factors impact Afro-Latina dancers' sense of identity. Teachers, staff, and directors need to receive training on these topics to be aware of the issues, allowing them to move away from outdated standards and provide better support for Afro-Latina and other diverse dancers. Furthermore, study participants emphasized the importance of access to solid mentorship, leadership roles, and a supportive environment to help Afro-Latina dancers navigate the industry's challenges and find their path to success.
Luz M. Iturbe Ortiz
Why talk about ballet, its Eurocentric roots, and Afro-Latina identity? What is the connection? Why does it matter to address the challenges that Afro-Latina dancers face? The answer is simple: ballet has historically been rooted in Eurocentric ideals, often excluding communities like Afro-Latinas. By addressing these challenges, we are not just recognizing the barriers Afro-Latina dancers face—we are opening up the space for them to reclaim their place in ballet. Hundreds of Black girls have fallen in love with dance and taken ballet classes at some point. It is important to talk about it to break down the walls of exclusion, celebrate diverse identities, and understand that ballet has the power to uplift and transform. We need to make it a space where everyone—especially Black girls and Afro-Latinas who dream of dancing—feels like they belong. When we talk about these issues, we tell them that they are seen and that their bodies, identities, and stories matter in this space.
Reimagining and reframing ballet education is key. It is about creating an environment that is more inclusive and culturally aware. As a dance educator, I have witnessed how ballet schools and companies frequently overlook the integration of culturally relevant practices within their organizational frameworks, placing an added burden on dancers navigating the field. Recognizing and understanding Afro-Latina ballet dancers' diverse experiences is crucial to ensuring that all aspiring ballet dancers have equal opportunities to succeed in American ballet.
My experiences teaching dance in vulnerable communities prompted me to become more aware of the unique needs of these communities and the adjustments required to ensure they had a meaningful learning experience. I have seen how many Latino students in my dance classes feel seen and welcomed when they have someone who speaks their native language or can culturally connect with them. It improves their integration into the dance class environment.
Talking about ballet and the need for inclusivity is not just about the art form itself; it is about making sure every dancer has the opportunity to thrive. It is about empowering dancers to see themselves in ballet, to feel valued, and to know they belong. The fight for inclusivity in ballet is a fight for the future, and it starts with conversations like this today.
I am grateful to use this platform, afrolatin@forum, to advocate for inclusivity and challenge outdated dance education and ballet training norms. The findings from my research serve as a guide for improving ballet education, ensuring that future generations of Afro-Latina dancers do not have to face the same obstacles. Ballet belongs to all of us, and it is time the industry fully reflects that truth.
Luz M. Iturbe Ortiz
Luz Iturbe is an Afro-Latina dance educator and performer from Puerto Rico. She began training at Escuela de Bellas Artes de Carolina, Ballets San Juan, and Balleteatro Nacional de Puerto Rico. Further her training at the Dance Theatre of Harlem’s Professional Training Program. Her career encompasses classical, contemporary, and commercial work in Puerto Rico, the Dominican Republic, Panama, and the United States.
Luz earned a Bachelor’s in Marketing and an Entrepreneurship certificate from the University of Puerto Rico and holds a Master’s in Dance Education from Towson University. She is trained in Cuban Ballet Methodology and is an ABT® Certified Teacher. Luz has taught at prestigious institutions such as The Washington School of Ballet and Dance Theatre of Harlem.
Her teaching emphasizes inclusive, culturally relevant dance education, fostering diversity and a supportive environment. Luz’s dedication to empowering dancers establishes her as a vital advocate for the dance community.
