Exploring Pedagogical Practices for Engaging Boys in Ballet

ABSTRACT The study explores the pedagogical practices employed by ballet instructors for engaging boys in ballet. Inclusive practices for gender non-conforming children in ballet are also considered. Four ballet instructors shared their experiences in semi-structured interviews. Findings indicate that male-focused strategies in both recruitment and pedagogy are prevalent in the field. Participants noted the need for parents to be open to ballet for all genders of children, to value their child’s gender expression, and to support the implementation of inclusive studio practices. Recommendations are made for teachers and studios regarding the implementation of gender-inclusive practices and the establishment of welcoming environments for all students.

Ballet is commonly viewed as a feminine dance form in Western theatrical dance that draws a large female presence (Risner 2009a;Halton and Worthen 2014). Within the ballet community there is a desire for greater male inclusion in ballet (Fisher 2007;Risner 2009b). As a result, boys are often recruited using hypermasculine strategies, "characterizing ballet as macho, in the sense of making it seem athletically masculine and resolutely heterosexual" (Fisher 2007, 46). These hypermasculine strategies contribute to narrowly defined gender roles and strict binary portrayals of gender in ballet. The current study investigates how to create more gender-inclusive environments by examining the pedagogical practices of engaging boys in ballet. It also considers how gender non-conforming children can be better included in the art.

Conceptual Framework
Previous research in dance has typically employed a feminist framework to critique the stereotypical roles of males and females in ballet (e.g., Fisher 2007;Risner 2009a;Klapper 2017). The current study uses a theoretical framework of poststructural feminism, with the principles of inclusion used as a lens in the analysis of findings. Poststructural feminism has been used to examine hypermasculinity in the presentation of boys in ballet and to examine how boys are recruited to ballet. In this study, poststructural feminism serves to frame the expansion of our gender discourse to beyond the confines of gender binary categories. The framework rejects the absolutes and creates space for multiple narratives (St. Pierre 2000). In the current study, poststructural feminism translates to understanding gender as non-binary as we explore alternative narratives to hypermasculinity in recruiting boys to ballet.
It is important to note that while our framework rejects the binary language of boy/girl and female/male, these terms are used throughout the paper. The decision was deliberate and based upon the language commonly used by our participants, as well as the parents, children, and studio owners with whom they work.

Gender in Ballet
Ballet is typically considered a highly feminized dance form in Western theatrical dance culture, with deeply embedded gender norms (Shay 2006;Burt 2007;Risner 2009a;Halton and Worthen 2014). In ballet, distinct and separate gender roles mimic the gender stereotypes of females as gentle and docile, and males as strong and powerful (Stinson 2005).
Gendered roles in ballet can be observed through the inspection of dancers' physique, as well as the ways in which their bodies are discussed. Stinson (2005) illustrates how critiquing the body in dance classes reinforces societal gender roles and contributes to a hidden curriculum in dance. Research has found that children know and understand gender and (hetero)sexuality from a young age (Blaise 2010). Children understand and engage in heteronormative and gender binary discourses. Furthermore, children understand the social consequences of deviating from the norms (Blaise 2010). Hebert (2016) discusses the sexualization of children in competitive dance and the 'hidden curriculum' that affirms heteronormativity and discourages deviations from heterosexual norms. Certainly, the practices of dance educators in policing children's behaviors are deeply embedded in society and in dance culture (Stinson 2005). Some dance studios offer all-boys ballet classes which often target specific skills that male dancers are expected to have, and may attempt to create a more masculine environment (Risner 2009a).
Predominantly heteronormative storylines are the norm in mainstream ballet, with well-defined gender binary female and male roles. Kahlich (2001) encourages dance instructors, in their role as educators, to be mindful of the materials and language they use when working with young dancers, and to recognize the power they have in choosing only to choreograph certain stories. Representation of different storylines is important, as individual dancers and audience members should be able to see themselves in the roles and feel welcomed into that environment.
Patriarchy operating in ballet permeates the dance profession. Though ballet is a female-dominated field, it maintains a glass ceiling with most choreographer and director positions being held by men (Fisher 2007;Risner 2007;Van Dyke 2017). Males are seen as more creative, leading to greater acceptance of them in leadership positions (Harris 2012). They are given more opportunities to contribute to the creative process from a younger age to make them "feel more comfortable" (Risner 2007, 141).
Sexuality is often considered in relation to gender. The desire to cling to traditional gender norms is linked to sexuality, specifically homophobia (Risner 2009a). Private dance studios typically try to counter the gay male stereotype in ballet by making clear divisions between the male and female dancers. Great effort is put into fighting the association between homosexuality and male dancers, with little consideration for the message thereby sent to dancers who do not identify as heterosexual (Fisher 2007).
Some researchers have considered the impact of heteronormative practices on dancers who identify with a gender binary category but do not fit the heteronormative mold. Polasek and Roper's (2011) study found that male professional dancers tended to hypermasculinize themselves in an attempt to distance themselves from the gay narrative (Polasek and Roper 2011;Halton and Worthen 2014). Participants shared ways in which they had to negotiate the stereotype over the course of their dance lives (Polasek and Roper 2011).
In an attempt to make ballet less feminine and more masculine, dance instructors often attempt to compare ballet to sports and therefore emphasize the physicality and athleticism that is needed as dancers. " [M]aking it seem athletically masculine and resolutely heterosexual, has been a common attempt to counter effeminate stereotyping in the ballet world" (Risner 2009a, 46). Though ballet does take a great amount of strength and athleticism, attempts to draw parallels between other more 'masculine' sports feeds the narrative that ballet must be equated to masculinity to be valid. While some boys have expressed that comparing ballet to other sports helps them explain the strength and skill in ballet to their critics, many feel that the comparison is not necessary to validate ballet (Risner 2009a).
Dancers experience homophobia not only from outside sources, but also from within the dance community. For example, Halton and Worthen's (2014) study found that male dancers "experienced negativity when engaging in perceived feminine behavior while simultaneously experiencing the reinforcement of heteromasculinity from their superiors" (760). A hidden sexuality curriculum is also evident in the role of female-male partnering (Glasstone 1981). Historically, partnering of male and female dancers has influenced the sexual storyline of dance and impacted notions of what is acceptable and what is not (Burt 2007). The basis of the partnering is often romantic, and though the female is often the main focus of the performance, the dominant heterosexual story being told is equally important. It seems crucial that dance instructors be aware of the role that they play in choreographing heteronormative stories and how instructors' own personal understanding of gender and sexuality impact their interactions with students.

Bullying and Femmephobia
Boys in ballet may not necessarily face overt harassment, but instead experience subtle forms of bullying (Risner 2009a;Klapper 2017). The cultural discourse creates an environment in which boys need a certain courage to pursue dance (Risner 2007). Because of the strong association between ballet and femininity there can be consequences for males at any age who choose dance as hobby or occupation (Fisher 2007), ranging from subtle comments to exclusion to outright abuse (Fisher 2007). Some boys who are interested in taking ballet are deterred because they understand the likelihood that they will be bullied and harassed for their participation (Edward 2014). Risner's (2014) research found that there was significant bullying of boys in dance. The bullying was connected to heteronormative narratives and homophobia (Risner 2014). Homophobic bullying is prevalent among male ballet dancers regardless of sexual orientation (Risner 2014), which highlights the attack of femininity, especially when it is applied to male bodies in ballet.
The efforts to distance homosexuality and femininity from dance sends a homophobic and femmephobic message. Femininity acts as a target in situations of gender policing and in connection to homophobia (Hoskin 2019). Some parents have fears about their sons being bullied for taking ballet classes which, based on Risner's (2014) research, is a very real outcome for many boys. Parents have also expressed concerns that their son may become gay or have increased chances of becoming gay from participating in ballet (Stinson 2005). Instructors' responses to such concerns are important in helping parents better understand gender and sexuality, and to understand the impact of these comments and concern in contributing to a homophobic and femmephobic culture.

Gender Inclusivity
Gender inclusivity refers to creating an environment in which children identifying with any and all genders are taught in a way that respects their gender identity and does not segregate them based on gender binary categories (Davis 2009). It involves creating an environment and curriculum that attempts to support the gender identity of all children. Ballet, as an art, has not taken up gender inclusivity, but rather has been directed by a binary understanding of gender (Davis 2009). This is not true of all dance genres. Contemporary dance does not suffer under rules that are as rigid or embedded in history (Tsintziloni 2015) and can portray non-heteronormative stories (Crawford 1994). Stories told in contemporary dance that deviate from the dominant discourse of Western society also highlight the potential for dance at large, including ballet, to evolve to reflect the changes that are happening within society, and perhaps even assist in leading these societal changes.
The goal of the present study is to investigate the current gap in the literature by exploring the pedagogical practices for engaging boys in ballet. The exploration involves understanding dance instructors' teaching backgrounds and the general studio environment, exploring techniques that instructors and dance centers use to recruit and retain boys in ballet, and examining the potential gendering of current teaching practices.

Scope and Approach
This research is approved by the Research Ethics Board at a large North American research university and data presented in this article is a stand-alone study. The qualitative study is exploratory in nature and limited in scope, and will therefore attempt to provide a preliminary understanding of teachers' strategies with regard to boys and gender nonconforming children. As a project specifically designed to investigate gender and dance, other factors and intersections that impact upon children's experience in ballet are not examined, but are noted when they organically arise due to the open-ended nature of the interview design.
A qualitative methodology was employed in order to develop an in-depth exploratory approach to the topic. While previous research has considered gender issues in ballet, pedagogical practices of dance instructors have not been explored with regard to gender nonconforming children (Burt 2007;Polasek and Roper 2011;Edward 2014). To our knowledge, the limited research on recruitment and retention of boys in dance has not yet been undertaken from a poststructural feminist the lens that considered dance inclusion for gender non-conforming youth.

Sample and Procedures
Four interviews were conducted, with two taking place in person and two taking place over media (one on Skype and one using Webex with only audio). Participants were given the option to conduct the interview either in a private room in a university setting or over Skype, allowing them to choose the location most convenient for them. Code names are used when sharing their communications.
The study comprised semi-structured, open-ended interviews with ballet instructors in a large metropolitan city in central Canada. Semi-structured interviews were used as there is currently a limited amount of research on dance instructors' perspectives on boys' inclusion in dance. A less structured interview format allowed for more in-depth understanding (Cohen and Crabtree 2006). Interviews were audio-recorded with participants' consent to facilitate transcription for more thorough thematic analysis of the data (Creswell 2012). The interviews lasted between 27−50 minutes, and the interviewer conducted interviews in a neutral manner.

Data Analysis
Analysis of audio recordings and transcripts were thematically coded using constant comparison. The data was interpreted using the theoretical foundations of poststructural feminism. Poststructural feminist theory was used to examine hypermasculine strategies in ballet and when grouping the data codes into themes that emerged, gender was extended beyond a binary understanding and connected to sexuality. The participants were given the opportunity to review their transcripts before they were analyzed. The themes that emerged from the data were: different movements and teaching strategies for boys versus girls; marketing techniques used to recruit boys to dance; costume considerations for gender nonconfirming children; barriers to getting started in ballet; historical role of gender in ballet; hypermasculine strategies used for recruitment and retention of boys; the role of parents; the importance of role models; changing perspectives toward boys in dance; understanding of gender fluidity; gender non-conforming experiences; recommendations; and benefits of dance.

Findings
The authors acknowledge that this qualitative study used a small sample size, and as such, the experiences of participants cannot be generalized to a larger population. Importantly, some of the participants' recommendations represent universal design for learning strategies, suggesting that although a strategy may be designed to support a specific child, it could be implemented for all and would likely benefit more than just the target child.

Context
Participants had between 6 and 15 years of teaching experience. All have taught boys consistently throughout their time as a ballet teacher. Winnie has taught boys for 6 years in mixed classes in private studio settings. Olivia has taught boys for 15 years, is a private studio owner and has taught boys in mixed classes. Ashley has taught boys for 15 years as a teaching assistant and instructor, has experience teaching at four different private studios; all the classes taught have been mixed. Wendy has 10 years of experience teaching for a professional training conservatory ballet school, 15 years' experience teaching at private studios, and 6 years of experience teaching all-boys classes.
The participants all reported that in the studio settings where they taught ballet classes, all classes combined girls and boys; the studios did not offer boys-only classes. However, in the professional training conservatory there were separate classes for boys, as well as combined classes for girls and boys. The ratio of boys to girls in the combined studio classes varied based on age and grouping but there was consistently a large majority of girls in the ballet classes.

Marketing Strategies
Participants reported that the dance studios offered price reductions ranging from 25% to completely free for boys. Participants also discussed ensuring that images of boys were visible in their media advertising. "When I have pictures of students that I want to put out, you know, on social media or, what have you, I definitely try to make sure I include pictures that have boys in it" (Olivia, [pseud.]. 2017. Interview with dance instructor by Feltham, Laura E. June 28). One teacher noted also being mindful of the names that they give to beginner classes, to ensure that they are not off-putting to boys.

Boy-friendly Environment
Most participants noted that getting boys into their first class is often the hardest part of engaging boys in ballet. All four participants highlighted the need for a welcoming environment that assures boys it is okay to be there, and that they belong. Olivia elaborates: I've never wanted to make it a thing, and to say that boys shouldn't be here or that ballet is not a class for boys [or that] they have to have their own special thing. I've always wanted boys to feel that ballet is absolutely for them and, they are welcome to be in the class and not separate them from the beginning (Olivia, [pseud.]. 2017. Interview with dance instructor by Feltham, Laura E. June 28).
Wendy also noted that the welcoming environment needs to extend beyond gender-that dance studios need to work to be welcoming environments for all regardless of ethnicity, socioeconomic status, or other perceived differences.
You might find that studios are predominantly White, which is a concern, with what the demographics have been for Canada, we remain a predominantly White art form, and to remain relevant, but also, are we really serving our community as dance providers if only a select few people in a community feel welcome in our spaces? (Wendy, [pseud.]. 2017. Interview with dance instructor by Feltham, Laura E. July 21).

Later Start.
Instructors indicated that some males begin ballet as teenagers, a practice that is not common for girls. It was speculated that boys joined as teens because they then have the autonomy to ask to take ballet or because they have exposure from high school dance classes and want to further their studies. The following is Winnie's explanation: I'm finding [. . .] in my teen classes, I get a lot of boys starting to come in, not a lot, but, ratio wise, like a few more, and I think it's because they went 'mom never put me in and now I want to pursue something' (Winnie, [pseud.]. 2017. Interview with dance instructor by Feltham, Laura E. June 23).

Hyper-masculine Strategies.
Participants described focusing on athleticism and strength-for example, elevation in jumps and power of movements-to get boys interested or to convince them to persist. Song choices and dance themes were influenced by the presence of boys in the class. Olivia discussed showing boys videos of male dancers doing big jumps and tricks that would interest them, then connecting these images back to ballet.
Guys who can hit Russians and all that-those are cool to see and so many of those jumps have been coopted into other forms of dance or look like what like martial arts performers do, and so sometimes boys look at stuff like and they're like 'oh that's cool' and I'm like 'that's ballet.' 1 (Olivia, [pseud.]. 2017. Interview with dance instructor by Feltham, Laura E. June 28).
Ashley discussed employing choreography with young boys that is more contemporary in style, for fear that they might be less interested in traditional ballet choreography. "[S]o I'll give everyone the exact same costume and try and make it as much ballet as I can before it hits contemporary[laugh], and I'll go with that to try and keep those boys in there as long as possible" (Ashley, [pseud.]. 2017. Interview with dance instructor by Feltham, Laura E. June 28).

Differences between Training and Choreography
All of the participants noted that in studio settings, the physical teaching and demonstration of ballet technique for young students (male and female) are generally the same. Where participants noted the most notable gender differences in movement execution and quality is in choreography for the stage performances and short enchainment. The following are some of the participants' words on the topic: "When it comes to choreography, especially doing partnering work, well then, you know I'm teaching different stuff" (Olivia, [pseud.]. 2017. Interview with dance instructor by Feltham, Laura E. June 28). "[. . .] the boys and girls' work is very similar except for when they're doing their enchainment or their dances. So I would say it's more of a choreography difference than a training difference" (Wendy, [pseud.]. 2017. Interview with dance instructor by Feltham, Laura E. July 21).
Participants reported that the gendered differences in the physical execution of the steps are substantial enough in the performance setting to be visibly gendered. However, it was that in class settings that movement differences can be kept minimal. One teacher even noted that providing different movements for boys and girls during regular class time can slow down the pace of the class. Keeping training the same for all students can help with the flow of the class and support inclusive practices.

Gender Non-conforming Children
As previously mentioned, three participants who had experience with gender non-conforming children in their ballet classes shared their thoughts about costumes. The instructors expressed feelings of uncertainty and discomfort in navigating the costumes, however they each presented choices of costumes to the gender nonconforming children. "For most teachers I think at first there's a certain kind of discomfort or lack of assurance about what you should do, and you feel like you're saying all the wrong things" (Wendy, [pseud.]. 2017. Interview with dance instructor by Feltham, Laura E. July 21). When discussing gender non-conforming children who do not identify as either solely male or female, teachers noted that maintaining similar choreography and costumes for everyone would be recommended. Ashley felt that studios can be afraid of presenting options to children for their dance costumes out of fear of backlash from parents who are not in support of their child's gender expression.
Yeah, I think that's what a lot of teachers and studios are afraid of, is okay, we give them the option and then you know their little princess chooses the pants and they come at us with, "why is she wearing the boy costume?" and that's a conversation that a lot of studios don't want to have (Ashley, [pseud.]. 2017. Interview with dance instructor by Feltham, Laura E. June 28).
Three participants had experience with gender nonconforming children, ranging from 7-years-old to teenage years. The fourth participant did not have any parents or children specifically discuss their gender identity with them but the participant had worked with students with varying gender expression. In some cases, parents had disclosed that the child was not identifying with a specific gender, and in others the ballet teacher was not told directly, but became aware as the child's body began to mature. Some participants expressed that they had a lack of confidence in how to include a gender nonconforming child, but that through experience and communication they navigated their inclusion. "After doing it once or twice, now I feel more confident asking people what they like to be referred to as, or and just like what I said in any class I try and be mindful and this is true for kids and adults" (Wendy, [pseud.]. 2017. Interview with dance instructor by Feltham, Laura E. July 21).

Evolving Society
Changing perspectives toward boys in ballet and gender non-conforming children were noted. The educators discussed that while traditional roles are still prominent, there are companies that are deviating and where you can see males on pointe. They noted a larger spectrum of male dancers, with more physical diversity than among female dancers. I think one of things that is nice now is that there is a lot of media that you see from the point of boys too, so there is a lot of ways for that they can watch a spectrum of male dancers, and say I like this or I like that, there is a spectrum within the professional ballet world of male bodies (Wendy, [pseud.]. 2017. Interview with dance instructor by Feltham, Laura E. July 21).
Participants also recognized that the younger generation of dance instructors has grown up during a more open and accepting time and tend to keep more open views and greater understanding of gender. Now a lot of the teachers are younger, right, [. . .] anyone I talk to in their late 20s, early 30s has the same thinking as I do, you know like let's give them options, let's try and keep all the choreography the same, like none of "this boys fists," girls are in whatever. (Ashley, [pseud.]. 2017. Interview with dance instructor by Feltham, Laura E. June 28). Ashley is discussing having boys make fists with their hands and not having girls do the same movement to show masculinity.

Recommendations
Several recommendations emerged from the interviews spanned recruitment and retention of boys, considerations for gender non-conforming children, and overall gender inclusion strategies.
[I]n terms of attracting boys to ballet, it's just a tough a one, because essentially you are dealing with people's gender beliefs and gender biases and we know what a crazy, crazy world that is, and how do [we] effect people's moral beliefs? It just takes a really long time and a lot of you know leadership I think [. . .] I think the main barrier to children getting into ballet specifically, especially for boys, is parents. It's parent education, its parent beliefs, parents, like it has everything to do with the parents (Wendy, [pseud.]. 2017. Interview with dance instructor by Feltham, Laura E. July 21).
Participants noted, while not necessarily specific to boys, that teachers need to be mindful of who is in their class, targeting their specific style and interest in order to make the experience enjoyable for them-for example, beginning with themes and styles that are less traditional and closer to contemporary in style. When boys are struggling to decide if they want to continue in dance, teachers can use media to show the boys successful models of male dancers and articles about boys who persisted in ballet and the positive experience they had.
Specific recommendations for gender non-conforming children involved offering children the choice of which costume they wanted to wear on stage. One educator also suggested offering all children the choice of choosing their costume, as teachers may not be aware of their students' preferences. The idea of presenting all children with costume choices was extended to considering having multiple costume pieces and allowing all children to choose some combination of them. Having a range of pieces that all go together was suggested, as it presents some uniformity to the costumes, but it also reflects the individuality of the children.
If a student wanted to pursue ballet in a professional company, however, options in costuming might not be realistic. As Wendy stated "in the end ballet is a very gendered thing, it has a male and female role" (Wendy, [pseud.]. 2017. Interview with dance instructor by Feltham, Laura E. July 21). The gendered roles can create barriers for gender non-conforming people to pursue ballet at a professional level. It was suggested that gender nonconforming students may seek to join a contemporary or modern dance company because ballet technique and movement is widely used in those settings, but they tend to have less defined gender roles.
[T]he nice thing is that there is a spectrum of dance, that people who do maybe identify [. . .] in a non-binary way, there is opportunity in other dance forms, but it's true, they are not, as [many] opportunities in ballet companies for people who don't fall into a gender category, but in modern dance that's something that's [exists] more or [in] contemporary dance (Wendy, [pseud.]. 2017. Interview with dance instructor by Feltham, Laura E. July 21).
Wendy shared that it is important to teach all children a wide range of movement qualities, as it is important for all dancers to be able to create movements that depict multiple qualities. Wendy also suggested these be discussed in terms of soft or powerful, rather than associating them with being female or male qualities.
The importance of having professional development for dance teachers was emphasized. One teacher suggested that having a platform for ballet teachers across the country to be able to communicate and share experiences and advice could be valuable. For example, Wendy discussed having conversations with other dance studios about changing room rules that make everyone feel respected, as well as means of sharing the rules of the dance studio.
Beyond gender inclusivity, another recommendation for creating a more positive and inclusive environment for all children was to focus less on the competition culture that tends to create a strong divide in studios between recreational students and the competitive team.
Aside from the physical strength and development that comes with ballet training, the simple enjoyment of dance was noted as an important component of participation. One teacher felt that taking part in dance as a child can open up more options as an adult. A childhood base in ballet sets the groundwork for dance to be continued as an adult for physical fitness and/or give people the confidence to try different physical fitness activities. Participants felt that, ultimately, people who choose to dance and continue to pursue ballet do not have regrets, because of the benefits they gain and the overall enjoyment that it brings. As Winnie stated, "nobody has ever said I wish I didn't dance" (Winnie, [pseud.]. 2017. Interview with dance instructor by Feltham, Laura E. June 23).

Including Boys and Gender Non-conforming Children in Ballet
The literature indicates that a lack of male role models can be a barrier for engaging boys in ballet (Risner 2007(Risner , 2009aPolasek and Roper 2011;Halton and Worthen 2014). Polasek and Roper (2011) specifically discuss how role models can provide social acceptance, while Metz (2011) focuses on athletes as role models. Instructors in the current study all stressed the importance of role models for boys. They noted that having role models boys relate to can foster a sense of belonging within the dance community; however, the discussion centered about male role models and did not raise the consideration of models for gender non-conforming students.
Marketing strategies, privileges, and relaxed uniform policies are other strategies that are used to engage boys in ballet. The marketing strategies shared by teachers, such as price reductions and male visibility in advertising is also noted in Klapper's (2017) study. Klapper (2017) and Risner (2009a) noted challenges getting boys into a ballet class, and the instructors in the current study also expressed the challenge of boys entering a ballet class. As in Klapper's (2017) study, teachers here also recommend allowing boys to wear clothes other than ballet attire at the beginning of their training, as the traditional uniform might deter them from taking ballet class.
The use of hypermasculine strategies to recruit boys to dance is documented in the literature (Fisher 2007;Risner 2009a;Halton and Worthen 2014;Klapper 2017). Metz (2011) draws attention to athletes as role models for boys, and the ways in which athleticism is used to hypermasculinze boys in dance. The participants in this study did discuss some hypermasculine strategies, such as emphasis on strength, power, and the athleticism of ballet being used to recruit boys; however, these were not the predominant strategies discussed. The instructors felt that in ballet, hypermasculine recruitment strategies were not used as much in recent years, in particular by younger staff members.
A recurring theme from participants was the difference in dance movements for training (in-class training time) verses choreography for a performance or examination. The literature focusses predominately on choreography and discusses the different movements for males and females in that setting (Edward 2014); however, the participants noted that training itself has few differences for girls and boys.
The gendered movements, costumes, and roles in ballet choreography led to the question of how gender non-conforming children can be included. Participants suggested offering multiple costume choices to everyone, using language that does not stereotype children's gender nor assume children's gender. When using different movements, they suggest giving the option to everyone to choose which movement they would like to do, or keeping the movements in choreography the same for all. An extensive search revealed no studies that explored gender non-conforming dancers' experiences.
Another consideration raised by participants for creating a gender-inclusive environment for children in dance was the use of changerooms. Changerooms and washrooms were discussed by Bowers and Lopez (2013) with regard to schools and sports teams; however, it has not been studied in the context of dance studios. It was noted in the current study that, in most cases, studios allow students to use the facilities with which they are comfortable. It cannot be assumed, however, that all studios have the approach of allowing students to choose, especially if the studio directors have not been made aware of individuals in their environment who are gender non-conforming.

Parent Role
A prominent theme that emerged from the findings was the important role that parents play in children's involvement in ballet. Though some of the existing literature touched on parent education, specifically to get boys involved in ballet, in the current study participants stressed the role of parents throughout dancers' childhood. The findings suggest that, even if there are recruitment tactics to target boys directly, ultimately it comes down to parents presenting their child with the option of taking ballet. In rare instances, boys self-initiate enrolling in ballet classes, but in most cases, the participants conveyed that it is usually the parents or families who ultimately decide if their child takes part.
Parents' role also emerges as a theme when discussing participants' experiences with gender non-conforming children. The participants shared that in the few experiences they had with gender non-conforming children it was often parents who had approached them to discuss their child's gender. Manning et al. (2015) discuss the role of parents of gender non-conforming children to advocate for their child in an educational setting; and the need for advocacy can be applied to dance education as well. Some participants suggested that dance studios may not offer the option to all the children out of fear of backlash from parents. If parents are not in support of a gender-inclusive environment, it can create a great deal of conflict within the studio.

Recommendations
The following recommendations emerged from the participants and as a result they offer suggestions beyond pedagogical practices for engaging boys in ballet. The recommendations are presented in two categories: recruitment of boys, and inclusion of boys and gender non-conforming children.

Recruitment of boys
• Introductory classes: drop-in style classes, trial classes, lower commitment classes • Parent education: education about males participating in ballet • Broader societal change: eliminate stigma associated with being a male ballet dancer • Benefits from dance: confidence, movement awareness, and self-expression Inclusion of boys and gender non-conforming children • Role models: more male role models in ballet to feel represented and seen • Limit competition culture: less of a division between teams, move away from auditioning • Media: sharing articles and videos of male dancers that persisted in ballet • Tailored teaching: mindfulness of students in the class, their needs and experiences • Presentation of costume choices: letting all children chose their costume from options • Professional development: platforms for teachers to share their experiences and strategies • Inclusive language and imagery: mindful of alienating language and images • Movement: letting children choose the movement when there are multiple options • Gendered spaces: encouraging children to use the spaces they feel most comfortable in • Parent education: education on diverse gender identity and gender inclusivity

Limitations of the Research
The findings and recommendations presented are not an exhaustive list, but represent some strategies that have been used by participants in this study. Other teachers and studios may implement different strategies for engaging boys and being gender-inclusive. As previously noted, the current study is a small scale qualitative study with four participants, building upon literature that is similarly small scale and qualitative. While the data presented is rich and presents a fulsome picture of participants' experiences, it should be interpreted with caution and not understood as generalizable to other participants and contexts. It does suggest, however, that further research in gender inclusion is warranted, as well as future research that centers the binary understanding of gender within the systems of White supremacy that exist in ballet. Participants in this study were not asked their gender and the authors felt it was important not to assume participants' gender. Participants' gender was, therefore, not considered in the analysis.

Conclusion
In this study, we explored current pedagogical practices for engaging boys in ballet, through semi-structured interviews with four ballet instructors. A variety of recruitment, instructional, and performance-focused strategies were noted. Additionally, teachers shared experiences with gender non-conforming children and their families, as well as strategies they use to ensure children feel welcome and respected in ballet. Participants sensed a slowly changing perspective about boys in ballet; however, efforts for eliminating the stigma associated with males in ballet must continue. With society's evolving understanding that gender exists beyond the binary, continued commitments to developing gender-inclusive ballet spaces could create opportunities for more males and gender non-conforming children to experience the joy of ballet, which is, after all, what attracts many children to dance, regardless of their gender (Risner 2009a). Finally, participants emphasized the significant role of parents in encouraging, enrolling, and supporting boys and gender nonconforming children in ballet.