"It's another myth that dancing distorts or destroys your feet. If you have the right shaped foot to start and a good, strong technique, your feet should be fine"
About this Quote
Bull punctures a favorite horror story about ballet: the idea that dance inevitably mangles the body. Calling it a "myth" isn’t just reassurance; it’s a quiet act of reputational repair for an art form long marketed through extremes, where suffering reads as authenticity and injuries become proof of devotion. Her line works because it denies the drama people expect. It swaps lurid spectacle for something less cinematic and more adult: craft.
The subtext is where it gets thornier. "If you have the right shaped foot to start" carries the blunt genetic gatekeeping that shadows elite dance. Bull is acknowledging, almost casually, that not every body is granted equal access. Talent matters, but so does anatomy; the industry’s aesthetic standards are baked into the argument. Then she pivots to "good, strong technique", insisting that injury is not fate but training, biomechanics, and discipline - a reframing that shifts responsibility from the art’s supposed cruelty to the quality of preparation and instruction.
Context matters: Bull emerged from a major-company ecosystem (Royal Ballet) that has spent decades negotiating public perceptions of ballet as both brutal and beautiful. Her statement reads like a professional’s corrective to tabloid caricature: yes, pointe work is demanding, but the real danger is mythologizing damage as normal. It’s also a subtle critique of bad teaching and rushed development - the places where bodies actually get broken. In a culture that romanticizes the ruined dancer, Bull offers a less thrilling truth: longevity is a technical achievement, not a miracle.
The subtext is where it gets thornier. "If you have the right shaped foot to start" carries the blunt genetic gatekeeping that shadows elite dance. Bull is acknowledging, almost casually, that not every body is granted equal access. Talent matters, but so does anatomy; the industry’s aesthetic standards are baked into the argument. Then she pivots to "good, strong technique", insisting that injury is not fate but training, biomechanics, and discipline - a reframing that shifts responsibility from the art’s supposed cruelty to the quality of preparation and instruction.
Context matters: Bull emerged from a major-company ecosystem (Royal Ballet) that has spent decades negotiating public perceptions of ballet as both brutal and beautiful. Her statement reads like a professional’s corrective to tabloid caricature: yes, pointe work is demanding, but the real danger is mythologizing damage as normal. It’s also a subtle critique of bad teaching and rushed development - the places where bodies actually get broken. In a culture that romanticizes the ruined dancer, Bull offers a less thrilling truth: longevity is a technical achievement, not a miracle.
Quote Details
| Topic | Fitness |
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