Interview: Instagram’s Ballet Moods – saying it like it is
There’s a certain kind of laughter that can’t be replicated – it’s part shock/part humour. Enter the room Ballet Moods; an Instagram account that’s been saying it like it is for the past decade.
Run by professional dancers – but no one knows who – they share memes (“an image, video, piece of text, etc., typically humorous in nature, that is copied and spread rapidly by internet users, often with slight variations”) that absolutely hit the nail on the head.
Which nail? The professional dancer nail; specifically a member of the corps de ballet. Which translates into English as the overworked, unheard underdog. Rather than try to explain the invaluable discourse Ballet Moods offers, go and have a look.
Each post gets to the crux of the matter, be that egomaniac celebrity dancers, power-crazed management or the reality of doing 12 shows a week of The Nutcracker and absolutely no one (really) cares about your physical or mental well-being. I realise the above all sounds a tad negative – it’s all true – but with Ballet Moods’ unapologetic voicing of the situation(s), it becomes a little easier to live/swallow when you realise you aren’t alone and it actually is the case. Camaraderie in action.
What does one ask the person who seems to have an erudite understanding of their sector, the lived experience of a dancer, and the zeitgeist culture as we know it? Well, kind of everything! Enjoy the Q&As below, and long may Ballet Moods keep doing what it’s doing. It’s more than a mood – it’s an ongoing reality check:
How do you stay anonymous?
People don’t tell on me.
Do you think your peers know who you are?
Yes, my peers know it’s me. I’m so grateful to everyone I know who keeps it quiet. They understand that my commentary is not about one place. It’s about the world we all occupy, and they understand that the page functions best with me being anonymous. You can see the commentary and not have to reckon with whether you like me as a person or not.
Can art/dance be apolitical?
Nope. Art and dance are political. The purpose of art is to hold a mirror up to society. The rights of the BIPOC community, the LGBTQIA+ community, and immigrants are unfortunately topics of conversation by the government and in political forums, and it’s our job to do everything we can to protect those people. Art shouldn’t have borders, and therefore we need to support those who cross or break borders.
Should dancers (publicly) perpetuate the above?
I don’t necessarily think everyone needs to express their political views, but you can’t absolve yourself from it. You’re in it, you’re part of it, and it’s important to be aware. The arts are marginalised and not supported, so who are we to not understand what it’s like to be excluded? Why would we perpetuate exclusion of others for reasons other than lack of ability/talent/work ethic etc?
The rise of the NDA in relation to the complex employee. What does this say about the industry and its evolution?
An NDA can be bad, and it can be good. What we’ve seen recently is this art form become more corporate post-pandemic and I think it all depends on the situation. Obviously, using it as a way to keep a dancer quiet when regarding possible abusive or harmful situations is bad news, but I’ve also heard of circumstances where it seems to have made sense. Tough subject tbh, and again, the industry has become more business-oriented and I think it’s a result of its need to survive in volatile times.
Re being in the corps de ballet – any positives?
Of course. Obviously, people want to be principals. But there are only a couple people who get to skip over being in the corps. Almost everyone else has to earn from the bottom. It builds your character. Teaches you to care about the productions as a whole and not just yourself, and a good corps de ballet is always an incredible sight.
Thoughts on male privilege in the ballet environment – has the reality improved for anyone else?
I think it is positive to see non-binary dancers climb the ranks and show how that can be integrated into classical companies. It’s inspiring to think where that kind of progress could take us.
I do think the field is very male-dominated and that fact alone creates male privilege. Whether it’s implicit or on purpose. I think it stems from the fact that a woman’s job in ballet is harder overall, therefore the standard has to be higher for them, and because of this the attitudes and treatment of men and women can be very different. I really think the woman’s perspective and situation should be emphasised more to men specifically.
Management choices (the individual) – are the wrong people in positions of power?
Probably in some places, yes. But that’s in almost every facet of life. Have you ever heard the saying “if someone wants to run for president, they shouldn’t be president”? It’s probably a bit like that.
Thoughts on the current dance writing/thinking/criticism landscape – is it worthwhile?
I think if you want ballet to thrive, you need to invite opinions. It can be hard to deal with, but discourse around something creates interest and conversation. If you look at sports, there is so much opinion, probably too much, but it keeps the sport interesting and spurs conversation. Same with film and tv.
Rep choices – in relation to appropriateness, representation and gender balance – where are we now?
Classic gender roles and repertoire reign supreme in ballet companies. It’s the history behind it and it keeps us sort of trapped doing those works and work similar to them. The lack of funding makes it hard for companies to go out on a limb with world premieres. But when I look around and see a lot of the new work being done, it feels like the gender norms are looser, and it seems to be progressing. I doubt everyone feels that, and that’s valid. I think sometimes progress is too slow, and our world suffers from that.
As far as appropriateness goes, I still see so many things that are weird and inappropriate. I don’t think we should do away with controversy, but some things are unnecessary.
The Nutcracker – what’s the answer?
Don’t bite the hand that feeds you. But please swap out your racist tropes.
The irony of your content – do dancers get it?
Maybe not always, but I think most of it is relatable in some way or another. I love to see who likes which posts.
What is the average audience reaction? Are they defensive?
No people seem to enjoy it. Most people can laugh at themselves as well as they laugh at others. You get people here and there, but I don’t care. I’m making fun of myself so often on the page that I don’t care if people get offended. I believe in what I point out and what I say.
Can a self-aware (dancer) influencer exist?
Yeah, they’re out there. Influencing does lend itself to less desirable personalities, but there are so many lovely people who keep it real. There are influencers out there who influence simply by being an example, without emphasising influence, and I like that approach.
Beware of those constantly speaking about overcoming some hurdle or trying to preach.
Career ideas post the stage? Will you stay in the industry?
I’ll stay in the arts for sure. There’s no other life for me. Finance sucks, capitalism for capitalism’s sake is vapid and sad, making things and finding a way is the way to live.
Matthew Paluch was awarded a place at The Royal Ballet School in 1990 where he graduated in 1997. His first four years as a professional dancer were spent working with London City Ballet, Scottish Ballet, K-Ballet and English National Ballet, becoming a full-time member of ENB until leaving in 2006.
Matthew graduated from the Royal Academy of Dance, Professional Dancers’ Teaching Diploma in 2007, and was formerly on faculty at The Royal Ballet School. He completed his Masters in Ballet Studies at Roehampton University in 2011, has been a freelance writer since 2010 and currently works in the Law Sector.
He is a member of the Dance Section of The Critics’ Circle.
