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Paper short abstract

This paper analyses how Japanese male dancers pursue aspirations across borders and asks what kinds of ‘diversity’ are accepted in global ballet markets. It examines the extent to which these markets prioritise individual talent regardless of non-Western body types, aesthetics and ethnicity.

Paper long abstract

Men remain a small minority among ballet learners in Japan, yet more male dancers are studying abroad and entering prestigious overseas schools and companies. In 2021, there were approximately 7,900 male learners (around 3%) out of roughly 256,000 learners nationwide (Showa University of Music, Ballet Research Institute 2021). This paper examines how boys and men navigate stigma and prestige across amateur and professional pathways, focusing on masculinity, the body and racialised aesthetics.

It is sometimes argued that stigma surrounding boys and men in ballet is lower in Japan than in some other countries, partly because alternative masculinities have gained visibility since the 1990s, contributing to broader acceptance of male dancers (Monden 2019). Japanese male professionals, however, often encounter different constraints outside Japan. As ballet increasingly circulates as a global cultural product, rather than solely a Western form of ‘high art’, international mobility is shaped by organisational diversity agendas that claim to value skill regardless of nationality and promote representation (e.g. Paris Opera Ballet 2021). Declining participation in some Western classical arts may also encourage more international recruitment (Yoshihara 2021), potentially widening opportunities for Japanese dancers.

Despite these shifts, Japanese dancers may face prejudice linked to body size, proportions and gender expression. Although ballet is now a global cultural form, institutional standards of the ‘ideal’ body and aesthetic remain grounded in European norms. Accounts from male dancers who entered elite schools and companies highlight the difficulty of meeting physical demands framed through Western expectations. Even those who graduate near the top of their cohort may struggle to secure contracts or advance due to height or physique. Some report pressure to alter their bodies, while others describe injuries associated with attempts to compensate for perceived physical differences. Many ultimately return to Japan to continue performing or to establish companies and schools that support the next generation.

This paper analyses how Japanese male dancers pursue aspirations across borders and asks what kinds of ‘diversity’ are accepted in global ballet markets. It examines the extent to which these markets prioritise individual talent regardless of non-Western body types, aesthetics and ethnicity.