Scan barcode
A review by balletbookworm
Turning Pointe: How a New Generation of Dancers Is Saving Ballet from Itself by Chloe Angyal
4.0
Not quite a 5 star.
Turning Pointe reminded me very much of a book I read in junior high - [b:Off Balance: The Real World of Ballet|557889|Off Balance The Real World of Ballet|Suzanne Gordon|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1440821564l/557889._SY75_.jpg|545070] by Suzanne Gordon - that was very much an expose about the toxicity of the ballet world (since it came in the wake of Gelsey Kirkland's [b:Dancing on My Grave|39034|Dancing on My Grave|Gelsey Kirkland|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1487220193l/39034._SY75_.jpg|1546935] and was more a work of investigative journalism than memoir, I don't think it hit quite as big as it should have). Angyal's new book about ballet in the 21st century, and what we need to do to make the art form relevant, more inclusive, and less-likely to do permanent damage to young bodies and minds both updates Gordon's work and expands it. It is very well-researched, with a lot of interviews with working dancers, teachers, administrators and with some who have left the profession. She covers a lot of subjects including racism, classism, sexism, misogyny, homophobia, transphobia, sexual assault/abuse, psychological abuse, body dysphoria/eating disorders (all the trigger warnings for this book, although it is all handled sensitively, I think).
I think Angyal perhaps tried to cover too much in this book. I feel like she could have pushed deeper on a number of subjects. This may have been due to having to research and finish a book during a global pandemic, which obviously curtailed planned research trips and also added new subjects to the book. But it does feel like this book is the tip of an iceberg, that a book could be written for each chapter to deconstruct some of these very entrenched institutional constructs of "how" ballet and ballet dancers should exist. This is necessary reading for all dancers and dance parents.
And as a former dancer, who started at age 3 and danced until finally stopping at 34, even though I never danced professionally I saw versions of many scenarios recounted in this book. I love ballet, I would have continued taking daily class until I died (thanks, arthritis, you're not welcome), but we as dancers and ballet-lovers really need to demand change or the art form will make itself obsolete.
Turning Pointe reminded me very much of a book I read in junior high - [b:Off Balance: The Real World of Ballet|557889|Off Balance The Real World of Ballet|Suzanne Gordon|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1440821564l/557889._SY75_.jpg|545070] by Suzanne Gordon - that was very much an expose about the toxicity of the ballet world (since it came in the wake of Gelsey Kirkland's [b:Dancing on My Grave|39034|Dancing on My Grave|Gelsey Kirkland|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1487220193l/39034._SY75_.jpg|1546935] and was more a work of investigative journalism than memoir, I don't think it hit quite as big as it should have). Angyal's new book about ballet in the 21st century, and what we need to do to make the art form relevant, more inclusive, and less-likely to do permanent damage to young bodies and minds both updates Gordon's work and expands it. It is very well-researched, with a lot of interviews with working dancers, teachers, administrators and with some who have left the profession. She covers a lot of subjects including racism, classism, sexism, misogyny, homophobia, transphobia, sexual assault/abuse, psychological abuse, body dysphoria/eating disorders (all the trigger warnings for this book, although it is all handled sensitively, I think).
I think Angyal perhaps tried to cover too much in this book. I feel like she could have pushed deeper on a number of subjects. This may have been due to having to research and finish a book during a global pandemic, which obviously curtailed planned research trips and also added new subjects to the book. But it does feel like this book is the tip of an iceberg, that a book could be written for each chapter to deconstruct some of these very entrenched institutional constructs of "how" ballet and ballet dancers should exist. This is necessary reading for all dancers and dance parents.
And as a former dancer, who started at age 3 and danced until finally stopping at 34, even though I never danced professionally I saw versions of many scenarios recounted in this book. I love ballet, I would have continued taking daily class until I died (thanks, arthritis, you're not welcome), but we as dancers and ballet-lovers really need to demand change or the art form will make itself obsolete.