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Centering the Margins
The Inclusion Bites Podcast
Centering the Margins
JL
Speaker
Joanne Lockwood
NG
Speaker
Nena Gilreath
Joanne Lockwood and Nena Gilreath explore how Ballet Ethnik reshapes classical ballet to center Black excellence and diverse bodies. They discuss blending African dance and soul with ballet, challenging traditional elitism and exclusion to create a vibrant, inclusive art form where everyone can see themselves and thrive.
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Featured moments
Highlights
“The Heart of Inclusion: "Remember, everyone not only belongs, but thrives.”
“My superpower, she says, is holding the line for black dancers creating space, legacy and possibility where none was offered before.”
“The Sheer Scale of American Motorways "You join the freeway or the expressway and you stay in the same lane and before you know it, you've managed to move your lane to move all the way over, and then you end up getting filtered off in another lane by doing nothing other than drive forward.”
“But now people are taking that culture and moving it to a different era where there are higher legs, more movement. They're blending it with other culture, blending it with other dance forms, so that it is more exciting.”
“The Demands of Ballet Training Quote: "The highest form of ballet, you start with ballet or technique, soft shoes, and then build up to standing sur la pointe or on the tips of your toes. And that takes a lot of training and alignment so that you build the proper structure and muscles so that you can be strong enough to stand on your toes and be partnered by others on your toes.”
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Full transcript
Welcome to Inclusion Bites, your sanctuary for bold conversations that spark change. I'm Joanne Lockwood, your guide on this journey of exploration into the heart of inclusion, belonging and societal transformation. Ever wondered what it truly takes to create a world? Remember, everyone not only belongs, but thrives. You're not alone. Join me as we uncover the unseen, challenge the status quo and share storeys that resonate deep within. Ready to dive in? Whether you're sipping your morning coffee or winding down after a long day, let's connect, reflect and inspire action together. Don't forget, you can be part of the conversation too. Reach out to jo.lockwood@seechangehappen.co.uk to share your insights or to join me on the show.
So adjust your earbuds and settle in. It's time to ignite the spark of inclusion with Inclusion Bites.
And today is episode 204 with the title Centering the Margins. And I have the absolute honour and privilege to welcome Nena Gilreath. Nina is one of the co founders of the Bath Ethnic Ballethnik. That's easy for me to save my teeth in this company who have spent over three decades reshaping ballet to centre black excellence, belonging and cultural truth. When asked Nina to describe her superpower, she says that it is holding the line for black dancers creating space, legacy and possibility where none was offered before. Hello, Nina. Welcome to the show.
Hey, Jo, how are you today?
Absolutely fantastic. We're not far from Christmas. It's cold and wet here, but where are you in the world?
Okay, today I'm in Athens, Georgia. I am in a place that I love, a community called Athens. But I'm at the Herd Park. Why can I get my things right? Today I'm at Heard Recreation. Today I'm working here because there's a renovation on the building where I usually work.
So what's the weather like? You know, us Brits, we like to talk about weather. Is it. Is it hot and sticky? I mean, last time I was In Atlanta or 25 years ago, it was a really hot and sticky place. Is it. Is it still hot and sticky this time of year?
Today is not hot. Atl today I have a scarf on my neck. It's cold. And for people in the south, it's very cold. We're in the east and typically in the winter. Yeah, typically we're in the 30s or so. It's cold.
Has ice on the car. That's really cold. 30s?
Yeah.
For those who are like me, I work in centigrade, so. But 30s is water. Freezes at 32. So yeah, that's cold. Yeah, that's cold. Yeah.
Yeah, we have to wear a jacket and real socks and real shoes and most of the time we don't.
It's not like the summer where you're wearing sandals and T shirts and things.
Yes, shorts, shorts, shorts.
Yeah, well, yeah, you can just about get away with it here in the summer, but yeah, most of the year it's not quite short, whether in the UK where we are. But yeah, it sounds lovely. And you're not far from Atlanta then. So that. So Atlanta is the capital of Georgia.
Yes.
And so you're, you're not far from there, what is it, about an hour and a bit away.
Yeah. Like I always say, for me, I drive there several times a week because I work in Athens during the week and on the weekends I go home to Atlanta. So 90 minutes door to door if there's no crazy traffic.
So do you have those big freeways with sort of 20 lanes that all kind of snarl up and things like that, do you?
There's so much traffic here, especially after the Olympics, so we do have a lot of lanes. I usually take a little side street so that I can listen to podcasts like we're doing today, and then I end up getting on the expressway. So I love. It's a time for me to reflect, but also to listen and meet new great people. Like meeting you today.
Yeah, I remember my times in the States when I was driving and in. Either in LA or actually in Georgia or South Carolina, that sort of area. You join the freeway or the expressway and you stay in the same lane and before you know it, you've managed to move your lane to move all the way over, and then you end up getting filtered off in another lane by doing nothing other than drive forward. Is 6, 7, 8, 10 lane motorways sight to behold, really nothing really to have anything that big in the uk, but they're phenomenal.
It takes getting used to. And I'm from a small town in North Carolina, so when I moved to Atlanta it did get. It took some time for me to get accustomed to merging onto the highway and driving faster than I'd ever driven before.
And by. By UK standards, the. You don't drive that quickly, do you? So you're driving 55 to 70 miles an hour in the UK quite regularly. People are 80, 90, 100 miles an hour, which is kind of even more scary, I guess.
Yeah, that's. A hundred is too fast. It's usually between 65 and 75 is what is legally Permitted.
Yeah. We're not. We're not supposed to drive faster than 70, but, you know, our motorways, people do push it up quite often. Someone will come flying past you at 90 plus. So. Yeah.
And then your car kind of goes, whoo. Shakes.
Yeah, it does. Yeah, it does. But I've got a big German car, so my car's designed to go that fast as well. But I never go much faster than 75. 80. I'll get ticket otherwise.
Good for you. Keep your money in your pocket.
In my pocket, yeah. That's for sure. Yeah, that's where it needs to stay. We were chatting just before we went live and we talked about, well, the pronunciation, alethnic. And that's a merger of two words, isn't it? Ballet and ethnicity. Or ethnic. So where did this. Well, what started this Inspiration? You know, it's about trying to give not just a voice, but an outlet for people who don't fit the typical Swan Lake view of ballet, I guess, is it?
I know. And you kind of hit right on it. Were you in my brain? Yeah. So part of how we hit on it is dancing the classics. So in the late 80s, my husband and I were dancing at the Atlanta Ballet and we were performing the classics. Swan Lake was one of them, Giselle was the other. So with dancing the classics, once you're a classical ballet dancer and you get a certain level of proficiency, and if you're not the lead character, then there's a lot of standing and posing. So we were just standing on the side going, what's next? So we started to do the classical poses and then we started to add some, like, movements, isolating our bodies and our shoulders and our hips and adding that.
And both me and my husband, because eventually we did get married, after he followed me to Atlanta, we both are social dancers, love to dance to R and B music. So we just thought about what? About a world where we take all this classicism, blend it up, mix it up and come up with a new formulation. So we also were at the Atlanta Ballet, and we're in a city where. It was a city. The majority of the people were people of colour. But people of colour were not coming to the ballet. It was not very integrated. Some of the wealthier black children could get their dance education from the ballet.
So I would always say, where are the black people? The black children? Surely there are people like me that would want to be doing this thing. People like my husband, who was an athlete. So once we decided to leave the ballet, we decided to start our own company. But we were trying to at first get the choreographer, Louis Johnson, who choreographed the Wiz. We tried to talk him into coming to Atlanta and starting a ballet. And he said, I'm too old. A young person needs to do it. And we said, we don't know anything about starting a company.
He said, you know the best part, the dance part. So that's how we set out on this mission. Had no clue where it was going to go. So my husband, I'm a big sceptic and at that time we were dating, so everything he said, I questioned. So he said, I think I have a name for this thing. I was like, yes, sure, what's it going to be? And I had my head all tilted and I had a little frown on my face. And he said, my two favourite forms of dance are ballet and ethnic. Put it together, ballethnik.
And immediately I was like, ooh, he has stumbled on to something that I think we can really make great. So that's where we started.
Yeah, because traditional ballet is very white, very kind of colonial, kind of old school European, isn't it? It's not. I mean, forgive me if anyone listening to this is really into their traditional ballet, but it doesn't really excite me. Yeah, it's. It's very prim and proper, designed for certain body types and certain fitness levels and certain people Personas and what I'm imagining listening and talking to you, and also the visual identity that I see in front of me. This really fun, smiling black woman with massive hair. You don't fit the traditional ballet model, do you? From old.
If you, like, never tried to. Well, I guess there was a time that all of us had to try to assimilate, to even prove that we could be in the field. So, you know, with anything, after you try to fit a mould and you don't fit, you just might as well blow it out. So we decided to just blow the mould out. I love the structure of ballet and what it affords. I love the absolute. I'm a systems kind of person, so I like things that you can replicate and build upon. But again, once you get to that level of knowledge and proficiency, what's next? So I found that I had become bored with the regular steps and I wanted to do more.
And both of us really loved African dance and the drums from Africa. That's where it all began. So we both studied African dance and so we were like, what if we put a little mix and a little blend along with that? Soul music and R and B and Give something that will bring in other people. Just like you said, that we're not interested in the staunch standstill elitism of what people think of as ballet. So as we started to build our company, a lot of people were like, I hate ballet. So it became this problem that we'll solve. You hate ballet? Okay, we're going to show you a different kind of ballet. So we started creating programmes that were more accessible and so people could see themselves on stage.
And so that was what we set out to do and it really became something very effective and very much exciting. And the other part is that we had to explore where there were all kinds of body types, not just one mould of body types. So we had people all sizes. We had very small, petite people, we had medium sized people, and we had some large, shapely women, and we put them all on stage. We took a lot of heat from that because people were like, those are not ballet bodies. So we were like, what defines a ballet body? We define it as a body that knows how to do ballet, but knows how to move effectively in space and creates excitement. Who cares if you have a stick thin body that's not exciting to watch, where you had these curvier bodies of all sizes? And it wasn't just black girls. We had girls that were Korean.
They were from all parts of the world. One of our really beautiful dancers, she was tie, but she had a curvy body and she had hips and boobs, so she was always overlooked. But then when she came and started doing our work, people were like, I like the way that looks. People saw themselves on the stage and then people would come to our shows and go, I like this kind of ballet. I like this ballet.
So I'm a complete ballet novice. I know nothing about ballet other than getting guessing lucky about Swan Lake. And I've seen famous ballet people like Wayne Sleep in the uk, but I know nothing really, apart from the Russian, the Baltoy Ballet Company. So that's about my limit to ballet knowledge. So what makes ballet ballet, you know, traditional? Is it around the special shoes? Is it around the. Where you have to stand on your toes and point your. Yeah, that's what ballet is, is it?
It's many things. It's a system that evolved from the Royal Courts, allegedly. But we also know that there was some travelling through Africa with ballet, so it's a formal process. And because where it evolved from, the costuming was very rigid and strict and, you know, the corseted bodices, so it was all about the port de bras and bringing people into the royal courts so that you could see the whole tradition and the formality of movement. But then it emerged beyond the courts, and people really started to extend and lift their legs higher, which meant that the costuming had to be lighter and change. So it's a formulative set of steps that are rotated outwards, built and steeped in culture. But now people are taking that culture and moving it to a different era where there are higher legs, more movement. They're blending it with other culture, blending it with other dance forms, so that it is more exciting.
And I think we, as ballethnic, we had a lot to do with informing that evolution, because, again, you don't want something that's built with elitism, not affordable. And as you stated, ballet takes a lot of years of training to get at the top level, a lot of sacrifice, because for me, we're always in tight clothing, tight costumes to show and to reflect the body. So that means you're not going to be eating like a bunch of big fattening things if you're going to be on stage. And also, just like swimming and other sports, you can't eat a bunch and then use your body physically, it does not work. You will cramp up. So there's all those things that go with it. The highest form of ballet, you start with ballet or technique, soft shoes, and then build up to standing sur la pointe or on the tips of your toes. And that takes a lot of training and alignment so that you build the proper structure and muscles so that you can be strong enough to stand on your toes and be partnered by others on your toes.
So really, it takes a good 10 years to really be proficient and competent in ballet. And then, you know, as soon as you really get there, then your body starts to age and you've got all this knowledge and confidence. But then, you know, just like a great athlete athlete, the wear and tear on your body can be detrimental. I feel like I'm pretty lucky because I started dance later. So I had a whole normal life before I started dancing at 13. And therefore, I was able to dance a lot longer than some of my counterparts, people that started when they were three and five. I didn't even dance until I was about hitting puberty. And that's another thing.
When your body hits puberty and it changes. So there's so many things with being revealed through dance where your body is your tool, and as you grow up and your mind and your body expands, you have to, like, really grow into your new body. For people who start at a young age, so they start out with this young body. You go through puberty, your body changes. Then you have to learn how to move in an extraordinary way with your new teen and young adult body. So there's so many layers and evolutions of being like a professional, professional, proficient dancer.
So to me, correct me if I'm wrong, traditional ballet is all about elongating limbs very pointy as much in the expression, in the hands and the feet. But the body is pretty rigid in the middle, isn't it? It may be a bend over, but it doesn't really do. It's jerky, sort of mechanical type movements. Whereas when I think about ethnic, danc, tribal dancing, this is boobs and booty. This is a full body experience. Less about the hands, more about. More about the trunk, more about the trunk movement and the visual. So how do you blend the two? Is this still the traditional standing on your toes and the elongating with a bit of trunk movement as well?
Are you getting me so excited, Jo? That's part of what we started to do when we were talking about that swan leg. So we would be standing with our torsos more taut and rigid, and then we would add the undulation of the hips and the ribs moving forward, moving in ripples. In ripples, like the waves of water. So that's what was exciting for us because, as you said, ethnic dances, African dances, many of the other dances, the torso is empowered and it moves to the music and the structure of the music. So you have this polyrhythmic juxtaposition with the legs and the body while still holding balance. So that has been really the crux of our work, is taking this body that's trained in ballet and learning how to move it against both sides. So it's exciting. One of our most famous ballets is called the Leopard Tail, and it's a storey about a leopard that invades a village and he invades an African village.
So part of the work in Part 2, or Act 2, is that the village women show their bodies undulating on top of their pointe shoes and the men using their torsos. So it's like a freedom of movement, a freedom of expression. We are no longer restricted to just this straight up body, but that your body can move like a wave from the top of your head all the way down to the soles of your feet. But the feet can still point, but they can also flex. So there's so much more freedom and expression as a regular person. So I feel like that ballet helped us to incorporate so many other people, especially people that just love to dance.
I'm just, I'm going to have to try and find your website after this recording and just, and just see some video on this because it sounds absolutely fascinating. It's. In some respects it sounds harder to master because you've got, you've got all the concentration on trying to perform the traditional ballet type stances. Yet as you say, get undulating, get your, your body, your booty, your boobies, everything going in different directions and get the expression. Because ballet is often expressionist as well. It's very, very, very straight faced. But I'm guessing you're going to be really living that in your facial expressions as well.
I love that you're touching on all the things because joy has to be expressed. So when we started teaching the ballet with all these other mediums, the eyes became more involved, the smile, the neck and the head. Because in ballet typically we don't get to move our heads like from side to side or isolations of the head and the neck. So it brings on this whole joyous expression. But some of the people who were more balletically trained, it was scary for them at first. They couldn't let go of their bodies. And again, I'm going to refer back to the leopard tail because as we know with animals, animals are not afraid to turn around backwards, stick their booties up, especially cats. So the leopard is a cat.
And part of the dance in a leopard tail, the leopard meets the leopardess and they mate. So part of the attraction is moving your body, arching your body up like a cat. So when we first did that, people were gasping, literally in certain markets and audiences, people were clutching their pearls. They were like, you guys turned your butt to the audience and you arched your back. I was the first leopardess and I had to deal with the harsh criticism of the people who were like very uncomfortable with their bodies. And then the celebration of people who understood the importance of that freedom that we were bringing to the stage. And, and it was a very complex time for me because we were a young company and we were trying to build audiences. We didn't want to alienate people.
We wanted to be authentic and true. And with this ballet we were able to bring in all kinds of body types and we were wearing like catsuits or unitards is what we called. So they were slick things that were tight to your body. And again, as I said earlier, there are people with really small bodies and people with large bodies. But we said, what better way to celebrate people than to use a ballet about animals, because the animal kingdom, in fact, really, a lot of times if you're a bigger animal, you might survive the jungle better. So there were so many lessons to tell through this storey, the leopard tale, because we had the cats, we had the wild dogs, we had hyenas, we had snakes. So we could do the metaphor of how snakes come in and they can take you out. You don't even know they're there.
And all of these bodies got to move very stealthily, using all the isolations of the head, the neck, the body, the torso. So it was kind of freedom that we developed. And the freedom was metaphoric in that it was not just freedom of the body from the ballet, but freedom of your spirit to express who you are and to become your authentic self.
I couldn't resist nipping onto your website as you were talking there, because I needed to translate the picture you're giving me and I needed to see that and I needed to get a reference point, just to help me revisualize, make sure I was on the right track. And if you're listening to this now, let me just, whilst you're listening, nip onto this website as well. But bellehnic.org b a l l e t h n I c.org pop on there now. And there's a video sort of showing on the homepage, isn't there? And it's. It reminds me of the Lion King stage show where you have the characters and I presume they're the leopards on the show here. And it's beautiful movement, beautiful expression. It reminded me so much of the Lion King stage show, the way the human animal characters were interacting with each other and sort of looking animal like in their movement as well. I could see the leopard in them as they're moving, but still, as you say, with that.
That traditional ballet feel in a way as well.
And you name like the elongation and the lengthening, lengthening of the body. It still exists, but there's also the groundedness. So we have had guest dancers come from other companies or trainings. And what was difficult for them is to crouch really low, how animals get really low, and to use your arms, like paws or legs. So it's hard on the hamstrings and it takes a lot of conditioning to achieve that. And for the dancers, what was fun for me, there's an arts and crafts part because we have our pointe shoes and we got to decorate, like the leopardess shoes, to put the spots on it, and the gold rosettes the way the leopards or cheetahs have in the wild. And then the bodysuits have the spots as well. And then back when we do the really big stage shows for a long run, we would spread spray our hair gold, and then you would make your full.
Learn how to do your full cat face. If you were a cat. If you were a snake, we learned how to do glitter scales. So imagine this ballet has given so much to us because it has so many layers of intricacies that people were interested. And even with the parents who were crafty and got away from it, they would help with the costumes and with the shoes. And it was just a really. If we go back to that centering, centering community through dance, that we all work together to achieve something great and to celebrate every type of body in our community. And not to say you're not good enough because you don't weigh 99 pounds, everybody mattered.
As long as you can move and that you're committed to the movement and committed to the celebration of the full community.
I don't think I've ever weighed 99 pounds. Maybe. Maybe the first six months of my life, but, yeah, I don't think. I don't think I've ever built to be that. That skinny. No. How many dance troupes are there performing this style? It presumably is beyond just. Just your local one that you.
You have a network across the States.
See, I don't know how many are performing this style. There are a lot of companies blending, but I really believe we're one of the first and ones that continues to mix the ballet with the African dance, especially West African dance concepts, the ballet ethnic. We also have had the chance to travel to Tanzania for a couple of years to study East African dance, which gave us a whole different kind of sensibility of African dance. So we're hugely inspired by the African dance culture and the groundedness of it and what the simplicity of it is. So I think that's added a lot to how we view dance and community. Whereas, like, training with ballet is very specific, and to get to that level, I understand from doing it at a high level, it does require a certain sacrifice. But where we are, we feel like in order for ballet and this mixture to survive, you have to get other people involved and included and represented, or it's not going to last. There are too many things people can do.
Like, people can just sit on their couch and experience the whole world. So you have to have something that people feel an affinity for or attached to to get them out of their house and in our case in Atlanta, to travel through traffic, to pay money, to sit still in a dark space, to be taken to another place. So it has to be something of great interest. It has to be beyond just the surface level of dance.
So I can see how the style is including people who felt they would not be represented in a more traditional ballet environment. What about the audience? Are you. Are you tapping into an audience who started with maybe a ballet, a traditional ballet type audience, maybe that old school type? Are the audience coming with you as well? Are you broadening the appeal, not just from a performance point of view?
Yes, I think we. I believe we are. In our 35 years, we started out, it was like two. Two dancers, a credit card, a mission and a dream. And now we have full audiences. In fact, we're gonna be performing this upcoming weekend with our ver. The Nutcracker, Urban Nutcracker, Balletnik's Urban Nutcracker. And the same with that ballet.
We changed the setting to somewhere far away in Russia, to Atlanta's Sweet Auburn Avenue in the East. So we always try to do things that have cultural relevance so that we can celebrate many types of people and community. And this coming weekend, the theatre's a 500 seater. We have four shows. We added another show. They're all sold out with the exception of a few seats. So we've really worked to be inclusive and to invite people to enjoy what we do. And there's been generations of people that come to that holiday tradition, like families that are, like, for 30 years, they've come from the time that I was the brown sugar.
So instead of being the Sugar Plum Fairy, we changed our character to the brown sugar, which is the sweetest sugar of it all. And we have a chocolatier instead of a cavalier, we have a big mama that narrates the storey. Because when we first started our Nutcracker, Urban Nutcracker, there were many in our community, they never been to a ballet, never thought about a ballet, not trying to go to a ballet. They said, I don't go to ballet because I don't understand what they're doing. So we added a big mama, which is your grandma, like, character, to tell the storey with her grandbaby before it starts. And now people feel like they have ownership of this ballet and generations come after generations. So it's a very big tradition, but we're also gaining new audiences as well.
Wow. It's. It sounds like a different paradigm, a different sort of genre completely, which obviously it is. It's ballistic. Which is different. So we talked about right at the beginning about trying to create an inclusive art form to appeal to a broader cross section of society, broader demographic. Has it had an impact in allowing people with physical disabilities, with maybe learning disabilities, such as down syndrome, other people able to take part in their own way?
We are doing that. That's so interesting. We've had several of our younger students that are really family members or family related that have come through in our academy that have, you know, things that would prevent them to dance in some spaces, but they've been welcomed and it helps us to grow as instructors. Like, how do we grow to serve a population that wants to have artistic expression? And we continually do that because there are many people that are neurodiversion and you think about most creative people are. So for us, it's like another, like solving a problem that people could perceive as a problem to include people in. And again, as we talk about building audiences, we want everybody to be able to enjoy the art form. And the way that people enjoy it is if they've had their own opportunity to partake, it makes people understand it better. When you've been on the other side and you go, oh, it's not that easy.
And maybe I don't want to go all the way to the stage to do it, but I appreciate it and I certainly want to see my friends do it.
Yeah. I'm curious. I'm not a dancer by any means, but I do like to feel a beat, to feel the. The vibration in my body and allow that to express. Even as an older person. I'm not as agile as I was in my teens and 30s, but even still today, I like to just feel that beat, feel that rhythm. And what you're saying here is this allows you to express yourself in that way where there's still rules, there's still a structure to the dance, but people can participate according to their own ability or their own skill set or their own. It's all about feeling the rhythm, really, isn't it resonating with that beat?
Yeah, yeah. And you said that. So what I love about, again, our community, our ballets mostly the large productions, start at age 5. The oldest person typically is going to be 80, 81, because we create space for everybody. With the Urban Nutcracker, one of the lead characters, Professor Isaac, my husband Waverly, he created a space where Professor Isaac, he could have an entourage. And the entourage, they are older adults that like to dance in the community. And they have a special part where they come in, in one section and they do a dance with Professor Isaac and they exit. And that's been a tradition for all of our large ballets, including jazzy Sleeping Beauty.
He created a part for them as the global dignitarians that come in, and they do a court dance. So, you know, once you got to stay moving, that's your circulation, that's your good health. So if you've been a mover and you're younger, you think about when people get older and they don't have the balance or the mobility, they fall, and that's your downward spiral. So we have a community of older dancers. They're in a lot of our productions. When we do outside community performances, we invite them. And they're also great advocates and great representatives of what dancing your whole life means. My mentor, Moselle Spriggs, is going to be 100 January 1st, and she taught dance and swam most of her life.
And when we started Val Ethnic, she was one of the people that taught us how to put together a board of directors. So even just last week, I was on an interview with her, and she's outlived, like, a couple of her doctors. So it just shows you stay moving. It's good for you. It keeps your blood pressure down, it keeps your circulatory system, your respiratory system intact. So however you can move. And no, we don't expect to move the way we move when we were 20, but there's something to say about somebody who's 60, 70, 80, 90, trying to move to keep your posture in alignment so you're not humping over. And when you come together with your community to move, it is really inspiring.
And then you'll keep doing it because you have somewhere to go. And then that really evades, like, the social isolation in which a lot of elders get depressed because they have something to look forward to. I'm going to go and I'm going to dance with my friends. I may be a little bit sore and have to get some salve or something to put on my knees and my hips, but I will have moved. And when you move scientifically, you know, you feel better.
You do? Yeah. We've. We've just got ourselves a new puppy, so a little, little cavapoo. So I. I'm now doing two to three miles walking a day, morning and evening. Yeah, just that extra bit of movement. You feel good. It's incredible for just clears your head.
It gets you. Feels you got invigorated, something to look forward to, to cause you to turn your PC off at the end of the day and actually gonna do something different for a change. Yeah. Not rather than just drift on. You threw the word swim in there somewhere. Does this cross into synchronised swimming? Cause that's a very traditional kind of pointy toe, kicky leg sort of thing. I'm just thinking, could we have synchronised bath ethnic in the pool as well?
I think you could, because you could take that rhythm and use all of that dexterity and all that movement, all that rhythm in the pool. I think we could come up with something new and fascinating. Because you think about it, the linearness that you spoke of earlier, it's all, like, in synergy.
Yeah. I think there's a. There's a huge opportunity here. I'm speaking as a white person here who's been brought up in a wild world where the norm is this and listen to you speak, thinking, actually, this sounds more fun. This sounds more exciting. And maybe we do need to sort of put more rhythm into things. And synchronised swimming is definitely needing. And maybe even some of the Olympic sports.
We talk about the Atlanta Olympics earlier, but we talk about some of the movements on the floor with the ribbons.
And the more rhythm with that, more rhythms.
More rhythms than just waving a ribbon around. You could turn that into a more expression and add your body to it.
I love that. You know, what I didn't tell you is in 1996, Ballethnic was the only dance company that received an original commission to perform in the Cultural Olympiad. So we were able to perform during that Olympics. And we received a review from the New York Times. And then my husband, Waverly, he had choreographed a ballet that compares ninjas to ballet dancers in terms of, like, relating the stealthiness, the sleekness, the agility of a ninja to a ballet dancer, to this rhythmic music by Kataro. So that was able to be shown at the Cultural Olympiad. And then we worked with a choreographer from Burkina Faso, West Africa. She choreographed a ballet on Ballethnic.
And she had never worked with pointe dancers because she had done mostly traditional West African and modern dance. So that was a whole exploration in which we worked about a year to pull together that synergy. And that allowed us for the first time to travel to Africa to train with Irene Tassambedo. And then she came to the States and worked with us a couple of times. And then we premiered her ballet, which was called Trouble, and then Waverly's ballet, Alonso, which was about the ninjas during the Cultural Olympiad. So that was, like, really amazing. And we met so many fascinating People. During that time, we met the president of Claremont College and he later on invited us to California to perform our signature style.
So it gave us a lot of opportunity to travel nationally and internationally from this Olympic, global connection.
It's fascinating. The more I'm finding out, more we're talking, I'm thinking this is. This is amazing. Why, I suppose I must have seen dance moves in a similar style to what we're talking about here. But I guess I'd never come across this term and phraseology about bad and ethnic. And that, as you said, is kind of more down to your brand of that.
Yes.
There are other people performing their own variations, blending dance styles with traditional African ethnic dancing. So, yeah, I guess I see it all the time in other areas, but never defined in the way you've defined it with this core ballet blended with ethnicity. And I think that's a really great way.
Intentional. It's been an intentional effort. A lot of people blend ballet with modern or contemporary, but our brand is definitely the exploration into African dance concepts. And it's tough because it does have the opposites, because ballet is very lifted. The African dance can be very grounded. So for people to want to explore that, it really takes a lot of, like, put your ego to the side. You may look crazy because you're used to looking proficient and graceful, but now you're not going to look like that because you're dealing in a mode that you're not accustomed to. And you know, with anything, once you know how to do something well, it does not feel good to not do it well.
It does not feel good to falter and to fumble. But you think about in life sometimes, when we go through our greatest trials, tribulations, and we're faltering, fumbling, when you come out of it, you really see that you've grown a lot. And so that's what happens. Like I always tell people, if you know and study with us, with this form, it's going to make your ballet better because it's going to have more air. Because a lot of times people that do strict ballet, they don't really breathe. But when you do African dance, when you perform African dance, if you don't breathe, you will be passed out on the ground, period. Because it requires a lot of stamina and a lot of high level energy and movement to the rhythm, to the beat. So if you don't learn how to breathe, exhale, show your joy, you are not going to make it.
You're pumping some big muscles, aren't you? Your thighs and Your back muscles are probably playing more than you would in traditional ballet.
And your arms, your arms, you can develop just beautiful arms from the arm movement because you're using your triceps and your biceps and you're using your neck. Isolations. Again, these are things that in our traditional ballet we don't. We're not allowed that liberty, that freedom of movement. And for me, it's like a really joyous place. It's like if you've ever been to a church, where they really do high praise and celebration is getting to that euphoric kind of feeling. And that's what. Back to the ballet.
The leopard tail at the end, the finale is like about 8 to 10 minutes of just euphoric movement in a circle. The whole village dancing, from the very youngest child to the very oldest person, celebrating the joy of the village, meeting, like, its goals.
Again, I'm visualising this and imagine myself in the audience watching one of these shows and I'm trying to contrast it with how I would feel watching traditional ballet. I think traditional ballet, I would probably be sat in my chair, very upright, very stern faced, nodding gently and sort of. This is very interesting. And I can imagine seeing your show and I'd be beating with the rhythm myself. I'd be in the chair, I'd be moving, maybe even singing along to some of the songs or whatever, and feeling that experience with the people around me, feeling part of the performance, not just an observer. So it's almost like a full audience experience here as well as a performance. You're almost leading the entertainment, but the audience becomes part of that, that whole movement as well.
Yes, it is immersive. And at the end of the ballet, what's so funny is people don't want it to stop. And we have done like several encores because again, in the leopardtail, act two is live drumming. So the drummers are drumming, everybody's upbeat, the audience has jumped up. Everybody's, like, moving. It's like a spiritual experience. It's immersive. Then the drums, the last beat stops.
Boom. And you can just hear everybody just roar. And then the drummer started again. Everybody's back into it. Finally, like, as one of the directors, I'm like, no more, no more. We've got to get some water because we're exhausted. I remember when I was younger dancing the leopard tail. People would lose, like up to seven pounds in a week because it's very aerobic activity.
So we would say it's almost like being a marathon runner. You better eat your carbs before the performance week, because you are going to slim down, you are going to lose weight because you sweat with the lights on stage and just the activity of it. But it is really by far one of the most exciting things that we have created. And we create it because the community needed it. We were working with my mentor, Mrs. Briggs, that I told you at Spelman College. And we wanted to create a ballet that did have the African drumming, the African dance, and that it could include every part of the community, not just ballet dancers. We wanted to be able to include the modern dancers, the African dancers, and we all wanted to come together to do something.
So we started out with just a rough sketch and then eventually Waverly went away to do some Nutcrackers in Detroit. And when he came back, he said, I have a storey. And like, both of us are very fascinated by cats and their agility, because if you can make your body look like a cat, that is a real feat. So he made the ballet in Act 1 happen in the leopard's domain and then Act 2 comes to the village. So there were so many things that we could do, like really cool costumes that have a ballet aesthetic, but also that has the colour and the fabric from Africa. So that was a way that we could come together. So many, many cultures, blending our African, respecting our African tradition and that ancestry, but also our African American tradition and culture and then anybody in between, because all people have usually a culture or a way that they do things. So different people that came in, we would celebrate, like their parts of their culture.
Our first, very first leopard was a Filipino guy and they talked about like their, their culture in the Philippines and how they did things as a community. So not only was it an opportunity to put together together something really amazing on stage, but to really work together off stage to create more understanding of how we do things.
So as you've been through this journey for the last 30 odd years, developing this, what barriers have you found that you've had to come up against that you had to overcome? Whether it is societal prejudices, the arts prejudice. So what are the big challenges you face and how did you navigate around them?
Yeah, a lot of prejudices. One of the first that we experienced it was the prejudice of being youthful and trying to do something impactful and getting people to validate that. Because when we were started the company, we were in our 20s and everybody just doubted that we would stay the course. People go, oh, yeah, that's, yeah, but you're young, you want stay here, you won't keep doing it. And then 35 years later, we're still doing it. So we had that barrier and people to say, oh, but you don't know anything about business. You know, how can we give our money? But once we kind of broke through and people saw that we were in it for the long haul, we started to break through those barriers. And then also coming from the Atlanta Ballet, we had people that said, we don't need a black professional ballet company.
Why can't you people just be satisfied and stay where you are and be representative there? We don't need you. So we're like, I think we do. And why can't there be room for more than one? And then the female barrier. When we would go and work and do jobs and get paid, people would always give my. He was my boyfriend first Waverly. They would give him the cheque. But I'm the one who took care of the money. So I'm like, wrong.
Thank you. I am the money person. I add the finances. So so many different things. And then the body stereotypes that we talked about, the colour stereotypes, you know, it was always like, we were always trying to prove that we deserved to get the money, to keep the money, and that why did we have to work harder to get the money? So a lot of times in Atlanta, even though it was known as a black city, larger businesses would call us when they wanted something for diversity only. So it's like, why can't you just call us? Because we do good work. We want to be included in all the conversations, not just the diversity conversations. Of course.
We know who we are and what we do, but we believe we do good work all the time. So you had that to deal with, and then you, of course, had the size and all of that as well. And then building or the desire to build an institution, to break through the systems and say that we deserve great spaces, a good building, funding, going to different meetings to talk about funding and about the level of funding that we desire. We don't want just a little penny when it's the black dollar. We want to be a part of the whole economic system because we pay our taxes like everybody else. So many, many, many barriers. And most cities, they only want one ballet company, one symphony and one orchestra, and that's what's funded. And because we just really were dogged at staying at it, we've been able to break through, but not to the extent that we have the funding that we really need to thrive at the level that we need to have the staffing.
So it's been a Lot of personal sacrifice to the fact that we call ourselves personally, we're philanthropists because we give of our time, our money, our energy. And then also we get all the people around us in our families to contribute and to support in all the ways. So it's really. We've made a lot of breakthroughs. And if it wasn't really like, divinely ordained, we would not exist. And if we weren't stubborn and persistent to persevere through, like, really hard times, like, sometimes we've not had health insurance because we couldn't afford it. Sometimes we've had so little money that we've worked, like, several other jobs to give back to our nonprofit organisation because we just believe that the arts is a way to empower and to build transferable skills that people can use everywhere and still support the arts.
I hear what you're saying. Definitely around the Black History Month. We need black representation. We want you become socially acceptable in the white arena when we're looking after you because we want to promote ethnicity this week or this month.
Yes.
But trying to unpack that so that you become the norm, not the. Yes, the celebrity act. You're just. You're every day as you are in your own community. You want to be everyday in all communities.
You said it so well. You said it so well because it did used to be like, February is the shortest month in the year and people would want us to work every single day, do 10 jobs. And in fact, we started saying in February, we're very selective and we only get the highest. We only get the highest dollars in February. And I would even say to people, we will still be black in March. Can we extend the month?
It's a bit like uber surge pricing, isn't it? You're going to be 10 times more expensive in February because that's when white people want you.
Yes, thank you.
Yeah. But actually want you all year at Christmas and in the summer.
Thank you.
But I can imagine. And I don't know, Valet. I'm not trying to pretend I do. And I'm probably playing to the stereotype here. Whereas when you said that, the town said, there's only room for one ballet company here. If I'm thinking traditional ballet, there's a very small repertoire of ballet performances. Song. We talked about Swan Lake or whatever it may be.
But what you're introducing is a complete break of the mould. You're not getting another Swan Lake, you're getting a Swan Lake reinterpreted. Or as you say, the Leopard Dance are getting other things I guess you can also be more contemporary with more modern music and more diversity of music and screenplay. Or the stage play can be broadened beyond those. Oh, this is what ballet is supposed to be like. We have to conform, we have to have these certain moves. Our ballet artists trained for generations in order to be this character. Whereas you can say, we don't need any of that.
We can be ourselves and create on the fly and evolve. So there's room for you everywhere.
I feel like you know us because really, you're hitting on so many points. The storytelling for us is about telling our unique storeys and being inspired by all kinds of storeys in the community. So it's not just the regular ballet canon that people would expect to hear and to see. We're always looking of new. Looking about new ways to tell things, to celebrate things. We worked with a playwright, Pearl Clade, and she has a ballet called Flying west, and it was the most produced ballet in the 90s, early 90s, and it was about migration from the south to the west. So people didn't know a lot about that. Waverly saw the play one time and he was like, if ever I get a chance, I want to turn that play into a ballet.
So eventually we had a friend, Dr. Young, that knew Pearl and her husband, and he told her and she gave us the rights to change that, that play into a ballet. And we travelled to the setting, which is in Nicodemus, Kansas, travelled there, we rode horses with some of the original buffalo soldiers so that we could see how it felt to ride a horse and to really figure out how it is to move in the West. We created original score and we used black classical composers for the music. And even Pearl Clegg, the playwright, she came in and did this amazing voiceover for us and she has a very distinct voice. And we were able to educate about blacks migrating to the West. So it's a different way to educate our community on that particular part in history. And the show, where we fit in the history and the ballet was amazing.
We were able to do the ballet all over the south and take really small portions of it to tell that storey to talk about racism, colorism, the plight against women in the west, and then what it took at that time to survive in the harsh elements of the west, that it took everybody, the Native Americans, everybody to work together to survive. So it was a really amazing venture. The end of the ballet, and it's a very interesting storey. We used techno music and we got an original band to come in and play techno. So we were doing ballet with techno and psychedelic lighting to show that one of the characters in the ballet that was trying to take the land away from this family, we had to get rid of him in a very different type of way by feeding him a special pie that had a little bit of lacing of something in it, because he couldn't be taken out in the traditional way with a gun, because that was messy. So there was like the. The storey is amazing. So that was an opportunity to tell not only a part of history, but to tell a storey where we could include all components of the community, from very young to very old.
We had children to be. To signify the wind. So they came through and we had these costumes on it and they were like the wind. And then we had children that acted like tumbleweed so that we could really get all the elements of the West. So it was like such an extraordinary, fun ballet, something we were so proud about. But again, the storytelling can go anywhere because there are so many storeys to tell.
So you've done 30, 35 years. Hopefully you'll carry on for another at least 20 while you're still physically able, maybe even 30. So what's next? How do you bring this to more people? How do you get more people involved? Is that the mission, to expand?
That is a mission. Yeah. Yeah. Thank you for being so perceptive. We are located near the airport in East Point, and most recently, our city council and mayor changed the name of our street, our portion of the street, to Ballethnic Way. And because we're very close to the airport, we want to make our place more of a destination. So before Waverly and I succeed to something else, we have some of our younger students that came up through the academy. They are running portions of the business now.
So we're working to raise money so that they can not only they don't have to just survive, but they can thrive. We want it to be an easier journey for them. When we hand over the baton tag, you're it. So we're slowly working out our succession plan, wanting to renovate our building so that it's a more aesthetically pleasing campus. We own our building and it sits on a little piece of land and we own one whole side of the street, which is on Ballethnic Way. So we want that campus to be enhanced and for it to continue to be a safe haven and just a cool place for the community at large to come to celebrate one another. We're also working with an archivist to really focus on our archives, so people can pull up some of the things. A portion of our archives are located at Emory University.
So we're trying to digitise a lot of those ballets, from old VHS tapes to digitization, so people can pull things up. So really the next level is just making it greater, making people more aware of what we do. And then for us, we want to continue to travel. We've had the opportunity to travel to Tanzania, but also to teach at the Dutch National Academy of Dance in Amsterdam. We've worked in Canada and taught and worked with Canada's National Ballet School. So to be able to continue to share what we do with the ballethnic style. Our great friend Mavis Staines, who retired from Canada's National Ballet School as a director after 30 plus years, I consistently talk with her about, like, vision for the future. So I'm hoping we'll be able to go back there and set another piece on that school.
We were able to travel to Amsterdam, to Den Hague for the Holland Ballet Festival two years ago because Mavis was thinking it was a great thing to do when she was retiring. So we work with our company members and some of Canada's National Ballet School, their graduates to. They were able to partake in Waverly's unique style, which was challenging for them because they were really serious ballet dancers. But they learned some of the African dance moves in one of the ballets called Waltz Tango, which is a waltz, a tango and a gallop. And we took those live drums to Holland. So I'm hoping we can continue to do this global work. It's so much happening. I feel like we're on the precipice of a lot of greatness.
We just need more funding so that we can continue to enhance our staff and give them the tools and support. That was a long answer. Right.
As I'm thinking, sitting there thinking about the global aspect of this, bringing in Australia or Maori culture and ethnicity into this or Pacific island styles of dances. So not only an African aspect, but also Aborigine.
Yes.
The aboriginal First Nation from down there, from that Pacific island, all of that part of the world. They're, they're.
Yes.
And dance and music as well. That sounds to me that's a real way of expanding globally to get even more appeal.
And I love it because, you know, it kind of tunes in with being a lifelong learner. So I think a lot of times when adults get bored or feel isolated or lonely, it's because they lack things that stimulate. I mean, look at, look at you with this podcast. You have this thing that stimulates your curiosity. And when you have things that excite you, stimulates your curiosity, it puts a certain energy in your body. And I think it just really extends our life and definitely our vitality. Right. So the more we can learn and the more we can be with other people to motivate us, it makes it even more like some days I feel just as excited as when I was like, 8, 10 years old.
It's overwhelming to me. Some days I wear myself out like a little kid and then I'm still fighting to stay awake because I want to do so much more in the world. I feel so lucky that this art form inspires me so much. I love teaching kids how to find themselves through dance because it gives you your posture, your confidence, your voice. So that's exciting to me. And I feel like if we can make the world better by using those aspects of ourselves, what a gift that keeps gifting.
Nina, we've been chatting away for well over an hour in the green room and online here. It's been absolutely fascinating. You said just now that I was able to bring out some questions. I had some insight here, but, I mean, before we met, I knew nothing about ballet. I knew nothing really about dance. I knew nothing about you. So it's been your power, your energy that's brought this to life visually in my mind and given me the inspiration to sort of dive in and find out more. So, yeah, all credit to yourself about how you've.
You managed to paint these pictures in my head. Now I've got all these explosions going off and I'm. I'm going to cheque your website out. I'm going to see if I can find some more examples on it. If you've got a YouTube channel and other places just. Just to find out more. And it's been absolutely fascinating. And if I lived anywhere near or close to Georgia, I would be buying tickets to your next performance and sitting there in the audience excited to get my rhythm going and being part of that.
That celebration. So it's been absolutely awesome. Thank you so much. How can people find more about you, more about the ballethnic dance style?
The easiest way is just to go@, well, ballethnic.org that's our website, so that's the easiest way if you want to see me. I don't post a whole bunch, but Nina, and it's Nina N E N. A leopardess, so the female version of the leopard. I was the first leopardess, so. And you know, I have that little snap, crackle and pop. And I can hiss if you get on my nerves. So at Nina Leopardis on Instagram, you can find me there. And those are the two best ways.
And then on YouTube, it's @valethnic. So any of those. Yeah, we're always happy to entertain new audiences and to find new family members to join us. And again, we're near the airport, so if you're ever in town. I see, you know, you talked about Columbia, South Carolina. So if you're ever coming this way, again, we're near the airport. And then in the meantime, you can do a little bit of Port de Brasil and a little bit ballet on your own.
I'm just.
When you just, you can add some ballet arms.
I can, I could do all this.
Oh, you got the hands. That was nice. I love it.
That's a bit more Indian style, isn't it? So, like more Bollywood, isn't it?
Yeah, yeah, it is. Yeah. I love it though.
Well, I've just found you on Instagram. I found you on Instagram. I just followed you on there. Yeah, I found you at ninolephatist and there's a video on there. I'm gonna, I'm gonna, I'm gonna be sit there, I'm gonna be doom scrolling your Instagram, your video feeds.
And there's so much more. You have inspired me today. Like, I love that you made me think about things in a new way. And your perception about things that I, that we do, that I don't necessarily think about, but you pull that out. So I've got my journal over here. So when we get off here, I'm going to write down the things that I'm grateful for from this podcast. I have a lot of gratitude because when you think you can do, but if you don't think about it, you're not necessarily going to do it and be intentional. So you've put some new inspiration in my brain.
So my hair is going to like fluff up even a little bit more.
Bigger hair. Yes. What we need, we need bigger hair. That's what we need. It's superb hair. Anyone who's listened to this, not seeing the video, then you need to cheque out Nina and find her. She's got the most enormous big hair. It's fabulous.
It's absolutely fabulous. Love it.
And you know what's funny about the big hair? As a ballet dancer, all the years, like in my earlier days, I had slick hair. We had to have slick, laid down hair. And I always straightened out the natural curl because that's what was expected. When we talked about in the beginning, the assimilation, we had to have straight hair. So one of the things when we did that ballet fly in west and we studied about moving from the south to the west, I decided to liberate myself and I cut off my straight hair and just let my curls pop out. And it's funny, it was freeing to me because I felt like I was no longer bound by that restriction. And so, I mean, there are times that I do straighten my hair, but it's such an effort that I just. I let it go.
And I. I think about the hair is like, sometimes it really showcases what's going on inside my body. My energy is like, popping for sure.
I can imagine it would take a whole day in the salon just to tame it. It's taming.
Yes.
It's free. Like the leopard. Like the leopard. S. It's. It's out there on the plains of Africa.
Yes. I love it. The Serengeti.
Serengeti, exactly. Yeah, exactly. Nina, it's been absolutely fascinating. Thank you so much.
Thank you so much. I look forward to connecting again. I can't wait to see the episode and to enjoy some of your other 204 episodes.
Thank you.
Have a great day. Thank you.
As we bring this conversation to a close, I want to express my deepest gratitude to you, our listener, for lending your ear and heart to the cause of inclusion. Today's discussion struck a chord. Consider subscribing to Inclusion Bites and become part of our ever growing community, driving real challenges change. Share this journey with friends, family and colleagues. Let's amplify the voices that matter. Got thoughts, storeys or a vision to share? I'm all ears. Reach out to jo.lockwood@seechangehappen.co.uk and let's make your voice heard. Until next time, this is Joanne Lockwood signing off with a promise to return with more enriching narratives that challenge, inspire and unite us all.
Here's to fostering a more inclusive world, one episode at a time. Catch you on the next bite.
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Episode Category
Primary Category: Cultural Diversity
Secondary Category: Female Empowerment
🔖 Titles
Title Variations
Redefining Ballet: Celebrating Black Excellence and Inclusive Expression on Centre Stage
From Swan Lake to Leopard Tails: Transforming Ballet for Modern, Diverse Communities
Embodying Belonging: How Ballethnic Dances Beyond the Margins and Challenges Convention
Igniting Movement: Ballet’s Evolution through Culture, Community, and Authenticity
Beyond Ballet Traditions: Creating Space for Every Body and Every Story
Centre Stage for All: Ballet Without Borders, Barriers, or Stereotypes
Rhythms of Inclusion: Blending Ballet, African Dance, and Individual Identity
The Power of Dance: Uplifting Marginalised Voices and Reimagining Classical Forms
Ballet Unbound: Groundbreaking Journeys in Diversity, Storytelling, and Self-Expression
Cultivating Community through Dance: Expanding Ballet’s Reach and Resonance
A Subtitle - A Single Sentence describing this episode
Nina Gilreith illuminates the radical joy and liberation found in centring black excellence and diverse bodies within ballet, challenging the artform’s traditions by blending cultural authenticity, community, and unapologetic self-expression.
Episode Tags
Inclusive Dance, Black Excellence, Ballet Evolution, Community Belonging, Ethnic Storytelling, Cultural Expression, Diverse Body Types, Accessible Arts, Intergenerational Participation, Challenging Stereotypes.
Episode Summary with Intro, Key Points and a Takeaway
In this compelling episode of The Inclusion Bites Podcast, Joanne Lockwood explores the transformative power of centring marginalised voices in the world of ballet with guest Nina Gilreith. Together, they discuss the journey of dismantling traditional norms to create a genre where classical technique and African dance merge, presenting ballet as an inclusive art form open to all body types, backgrounds, and abilities. Joanne reflects on her own perceptions of ballet as inaccessible and intimidating, while Nina passionately describes the process of breaking down elitist barriers and building a space where joy, individuality, and cultural truth are celebrated on and off stage.
Nina is a co-founder of Ballethnic, a pioneering dance company with over three decades of history in reshaping the ballet landscape to champion Black excellence, belonging, and authenticity. Based in Atlanta, Nina—alongside her husband Waverly—has built a legacy inspiring dancers of colour, reimagining classical productions, and establishing a platform for stories historically overlooked by the mainstream arts. With projects like The Leopard Tale and Urban Nutcracker, Nina’s dedication extends beyond performance, fostering community engagement, lifelong learning, and providing opportunities for artists of all generations and abilities, including those with physical or learning disabilities. Her superpower: holding the line for Black dancers, creating possibility and space where none previously existed.
Joanne and Nina delve into the nuances of redefining ballet through innovation, cultural fusion, and radical inclusion. They examine the stereotypes and societal prejudices Nina and her company have confronted and the creative strategies required to drive genuine change in the arts sector. The episode further investigates the power of storytelling as a tool for social progress, the need for sustainable funding, and the ongoing challenge of gaining mainstream acceptance without assimilation.
A key takeaway is the power of art to disrupt ingrained structures, foster genuine belonging, and empower marginalised communities. Listeners are encouraged to reflect on how inclusive practices in the arts can serve as a catalyst for wider cultural transformation. This episode promises to inspire anyone passionate about reimagining outdated systems and championing authentic representation.
📚 Timestamped overview
00:00 Joanne Lockwood introduces Inclusion Bites as a platform for exploring inclusion, belonging, and societal transformation through bold conversations, inviting listeners to reflect, connect, inspire action, and contribute to the discussion.
10:26 The section discusses how their shared love of African dance and drums inspired them to blend these elements with soul and R&B to create an accessible, inclusive form of ballet that appealed to those who disliked traditional ballet.
14:15 The speaker highlights Ballethnic's role in making ballet more accessible while discussing the discipline, physical sacrifices, and extensive training required to reach the highest levels of ballet, including pointe work and partnering.
17:24 The section discusses integrating polyrhythmic torso movements inspired by African and ethnic dances into ballet technique, highlighting the balance between rigid ballet training and dynamic undulations, exemplified in their ballet "Leopard Tail" about a leopard invading an African village.
25:53 The section discusses the unique approach of blending ballet with West African dance concepts and influences from East African dance culture, highlighting the importance of inclusivity and community in ensuring the survival and relevance of this style.
30:40 The section discusses how the academy embraces and adapts to include neurodivergent individuals and others who face barriers to dancing, enabling their artistic expression while fostering understanding and audience growth.
34:11 The text discusses how a founding member of Val Ethnic emphasised the importance of staying physically active for health and posture, highlighting the benefits of movement within a community, especially among older adults.
40:39 The passage discusses how African dance, with its emphasis on breath control and high-energy rhythmic movement, can enhance ballet by introducing fluidity and airiness, while highlighting the growth that comes through overcoming challenges.
49:02 The text discusses the challenges of advocating for equitable funding and resources to build an institution within a system that typically limits support to established mainstream arts organisations like ballet companies and orchestras.
54:19 Dr. Young facilitated rights for adapting Pearl Clegg's play into a ballet, leading to a production set in Nicodemus, Kansas, that featured original music by black classical composers, a voiceover by Clegg, and immersive research with buffalo soldiers to authentically educate about black migration to the West.
55:26 The ballet toured the southern United States, incorporating themes of racism, colourism, women's struggles, survival in the western frontier through communal effort, and included a unique ending featuring techno music and psychedelic lighting to creatively resolve a conflict in the story.
01:01:47 The section discusses how engaging in curiosity-driven activities, like learning and connecting with others, can combat boredom, enhance vitality, and invigorate life with childlike excitement.
01:06:54 The speaker reflects on their journey from conforming to ballet standards of straight hair to embracing their natural curls as a liberating act during a performance centred on moving from the South to the West.
📚 Timestamped overview
00:00 Introduction to Inclusion Bites
10:26 Making ballet more accessible
14:15 The dedication behind ballet training
17:24 Incorporating ethnic dance movements
25:53 Mixing ballet with African dance
30:40 Including neurodiverse dancers
34:11 Staying active with community
40:39 Learning growth through African dance
49:02 Fighting for funding and recognition
54:19 Creating a historical ballet
55:26 Performing a unique ballet production
01:01:47 Staying curious and energised
01:06:54 Embracing natural hair liberation
Custom LinkedIn Post
🎙️ This Week on Inclusion Bites: Centring the Margins with Nina Gilreith 🎙️
💥 Ever thought ballet could ignite inclusion and rewrite the rules of who belongs on stage? Prepare to challenge everything you know—in just 60 seconds! 💥
This week on Inclusion Bites, I’m in conversation with [Nina Gilreith], co-founder of Ballethnic, an award-winning pioneer who’s been reshaping ballet for over three decades to celebrate black excellence, belonging, and cultural authenticity.
Together, we explore:
🔑 Reimagining Ballet – How merging ballet with African dance opens doors for every body, every background.
🔑 Breaking the 'Ballet Body' Myth – Why representation means seeing yourself reflected and why the old rules needed dismantling.
🔑 Legacy of Possibility – Practical actions for creating space and legacy where none existed before.
Why Listen?
"Inclusion is about understanding, and this episode is packed with insights to help you create more #PositivePeopleExperiences."
About the Podcast
As the host of Inclusion Bites, I deliver weekly episodes designed to inspire, educate, and challenge perspectives on inclusion and belonging. Consider this 1-minute clip the spark for much bigger conversations.
Engagement Call to Action
How do you centre the margins in your world? 💭 Share your thoughts below 👇 or let us know how you bring diversity to life in unexpected places.
🔗 Listen now (and find full episodes): https://seechangehappen.co.uk/inclusion-bites-listen
#PositivePeopleExperiences #SmileEngageEducate #InclusionBites #Podcasts #Shorts #Belonging #BlackExcellence #BodyDiversity #CulturalInclusion #BreakTheMould
Don’t forget to like, subscribe, follow, and comment—then tag someone who’d love this powerful story.
with SEE Change Happen and [Nina Gilreith]
TikTok/Reels/Shorts Video Summary
Focus Keyword: Positive People Experiences
Breaking the Ballet Mould: Positive People Experiences at the Heart of Culture Change | #InclusionBitesPodcast
Tags: inclusion, positive people experiences, culture change, diversity, belonging, ballet, representation, Ballethnic, Nina Gilreith, Joanne Lockwood, black excellence, transformation, body positivity, arts, accessibility, community, empowerment, dance, inclusivity, change, storytelling, expression, wellbeing, innovation, leadership
Killer Quote:
"Who cares if you have a stick thin body that's not exciting to watch, where you had these curvier bodies of all sizes? We define it as a body that knows how to do ballet, but knows how to move effectively in space and creates excitement." – Nina Gilreith
Hashtags: #PositivePeopleExperiences, #InclusionBitesPodcast, #CultureChange, #DiversityMatters, #Belonging, #Ballet, #BodyPositivity, #BlackExcellence, #Inclusion, #ArtsForAll, #Community, #Authenticity, #Empowerment, #Wellbeing, #Transformation, #Representation, #InspiringChange, #Innovation, #Leadership, #SEEChangeHappen
Summary Description
Step into a world where tradition meets transformation. In this episode with Nina Gilreith, co-founder of Ballethnic, we reimagine ballet to centre Positive People Experiences and drive real Culture Change. Discover why inclusive dance practices matter—and how visibility, embracing all body types, and authentic expression ignite belonging. Hear how the power of joy and representation on stage leads to audience connection and community empowerment.
If you aspire to build cultures where everyone can thrive, this conversation is for you. Listen, reflect, and be inspired to challenge the status quo! Don’t miss the insight, laughter, and energy—because when we centre the margins, we create lasting change.
Call to action: Tune in and be the voice shaping a new era of positive experiences. Like, subscribe, and share to spark culture change in your world.
Outro
Thank you for tuning in to Inclusion Bites. If this episode enriched you, like and subscribe to our channel. For more on transforming cultures and creating Positive People Experiences, visit SEE Change Happen.
Listen to the full episode here: The Inclusion Bites Podcast
Stay curious, stay kind, and stay inclusive – Joanne Lockwood
ℹ️ Introduction
Introduction
Welcome to another illuminating episode of Inclusion Bites. Today, Joanne Lockwood is joined by Nina Gilreith, co-founder of Ballethnic, a pioneering dance company that has spent over three decades redefining ballet by centring Black excellence, authentic belonging, and cultural truth. As we journey through Nina Gilreith's story, we unpack the powerful intersections of tradition and innovation, exploring how ballet’s classical forms have been revolutionised—infusing African dance, embracing diverse body types, and dismantling elitist, exclusionary norms.
Ever wondered what ballet could look like when it lets go of rigid stereotypes and truly celebrates community? This episode challenges preconceptions, inviting you to witness the transformative impact of dance that is both technically rigorous and joyously liberating. From reimagined narratives like the Urban Nutcracker to productions that make space for every generation, Nina Gilreith's insights will expand how you see the performing arts and inclusivity itself.
Plug in, and prepare for a conversation that ignites curiosity, celebrates authenticity, and proves that when you centre the margins, you spark real change.
💬 Keywords
Inclusive ballet, African dance, Ballethnic, Black excellence, Cultural expression, Community engagement, Body diversity, Dance education, Urban Nutcracker, Legacy creation, Dance accessibility, Ballet stereotypes, Cultural fusion, Representation, Belonging, Dance innovation, Artistic inclusion, Ethnic dance, Intergenerational participation, Disability inclusion, Movement expression, Dance resilience, Artistic authenticity, Societal transformation, Celebrating diversity, Arts funding, Succession planning, Dance empowerment, Intersectionality, Global expansion
About this Episode
About The Episode:
In this powerful exchange, Nina Gilreith shares her transformative journey at the intersection of ballet and cultural identity, revealing how she has reimagined the art form to centre Black excellence, inclusivity, and belonging. Her insight into the evolution of dance—grounded in tradition yet boldly innovative—demonstrates the impact of embracing diverse narratives and body types on and off stage. This episode unpacks practical strategies for challenging elitist norms in the arts and fostering genuine community connection.
Today, we'll cover:
The roots and significance of blending classical ballet with African dance traditions to create a more inclusive and culturally resonant art form.
What it takes to break free from stereotypical notions of “ballet bodies” and open the stage to all shapes, sizes, and backgrounds.
How narrative-driven dance productions can reshape both audience demographics and performer participation.
The challenges and rewards of building spaces where intergenerational and neurodiverse communities can express themselves through movement.
Overcoming structural and societal barriers, including funding inequities, tokenism, and the entrenched dominance of traditional arts institutions.
Leveraging authentic storytelling to educate, empower, and catalyse conversations around social identity and history.
Tactics for sustaining and scaling inclusive arts organisations—succession planning, archiving legacy, and building global collaborations.
💡 Speaker bios
Joanne Lockwood is the host and creator of Inclusion Bites, a vibrant sanctuary for bold conversations that ignite change. She guides listeners on a journey into the essence of inclusion, belonging, and societal transformation, continually asking what it truly takes to build a world where everyone not only fits in but flourishes. Joanne invites her audience to challenge the status quo, uncover hidden stories, and reflect deeply—all while encouraging listeners to join her conversation and inspire meaningful action. Whether you’re starting your day or winding down, Joanne’s storytelling nurtures connection and sparks new perspectives, making every episode an opportunity to both learn and belong.
💡 Speaker bios
Nina Gilreith is an accomplished ballet dancer whose career flourished in the late 1980s alongside her husband at the Atlanta Ballet. While performing iconic classics such as Swan Lake and Giselle, Nina found herself often relegated to the periphery, standing and posing as part of the corps de ballet. Rather than merely waiting for her next cue, she began to experiment— blending traditional ballet poses with innovative movements that isolated the shoulders and hips, injecting a fresh, creative energy into the classical form. Nina’s story is one of artistic curiosity and a drive to push boundaries, even within the most revered traditions of ballet.
❇️ Key topics and bullets
Sequence of Topics Covered
1. Introduction and Setting
Podcast introduction by Joanne Lockwood
Welcoming Nina Gilreith as the guest and background context
Geographical context: Nina Gilreith located in Athens, Georgia; discussion of weather and commute
2. Genesis of Ballethnic
The origin of the company name: merging "ballet" and "ethnic"
Inspiration behind creating Ballethnic
Experiences at Atlanta Ballet and questions of black representation in ballet
Initial conversations with Louis Johnson regarding starting a new company
The foundational belief: merging classical ballet with culturally relevant forms
3. Reimagining Ballet
Critique of traditional Eurocentric norms in ballet
Emphasis on black excellence, cultural truth, and all body types
Incorporating African dance, R&B, and social dance influences
Making ballet accessible and exciting for broader audiences
Challenging stereotypes about "ballet bodies" and valuing diverse physiques
Inclusion of dancers of multiple ethnic backgrounds
4. Technical Distinction Between Traditional Ballet and Ballethnic Style
Explanation of what defines ballet: history, technical system, pointe work
Evolution from formal, restrictive movements to more expressive, inclusive forms
Detailed breakdown of blending: rigidity and elongation in ballet versus dynamism and polyrhythms in African/ethnic dance
Practical blending: undulation, trunk movement, and expressive facial participation
Signature works such as "The Leopard Tale" as exemplars
5. Community and Audience Engagement
The shift from elitism to a community-centred approach
Main productions like the Urban Nutcracker and adaptations to make them culturally resonant
Generational impact, with families engaging over decades
Incorporation of narrators (e.g., Big Mama) for accessibility
Commitment to providing a stage for those with physical and learning disabilities
6. Intergenerational and Inclusive Participation
Dancers from age 5 to 80+, ensuring space for all ability levels
Creation of roles for older dancers and non-traditional participants
The role of dance in longevity, community cohesion, and wellbeing
7. Physical, Mental, and Social Benefits of Participation
The link between movement, health, and mental agility
How Ballethnic combats social isolation and empowers participants at every age
Reference to mentors and community elders contributing to company development
8. Exploring Further Artistic Blends
Potential for Ballethnic style within synchronised swimming and other disciplines
Reflections on expanding rhythm, movement, and expressivity across art forms
9. Legacy and Global Expansion
Historical moments: Participation in the Cultural Olympiad at Atlanta 1996
Collaboration with choreographers from West Africa and global performances
Vision for building community hubs, archiving works, and succession planning
Desire to blend further international dance traditions (Aboriginal, Maori, etc.)
Maintaining and digitising archives for educational purposes
10. Barriers and Challenges
Early resistance due to age, inexperience, and societal expectations
Navigating race-based and gender-based stereotypes
Financial hurdles and ongoing struggle for sustained funding and recognition
The persistence required to establish Ballethnic as a lasting institution
11. Normalising Inclusion
Experiences with tokenisation, particularly around Black History Month
Advocacy for inclusion beyond diversity showcases
Aspiration to become a standard, year-round part of cultural life
12. Innovative Storytelling and Repertoire
Move beyond classical ballet canon with new, culturally-rich narratives
Collaborations with playwrights such as Pearl Cleage (e.g., "Flying West")
Use of multi-generational casting, original scores, and innovative stagecraft
13. Invitation and Continuing Mission
Opening to global, cross-cultural collaboration
Role of curiosity, lifelong learning, and community in fuelling vitality
Information on how to engage with Ballethnic online and in person
Closing statements cultivating gratitude and anticipation for future growth
The Hook
1
Ever felt like you’re standing outside looking in—wondering if you’ll ever fit the “mould”? What if the answer isn’t squeezing in, but blowing the walls out? Get ready to rethink every “standard” you’ve ever accepted.
2
Tired of narrow boxes? Imagine an artform where EVERY body takes centre stage. Bigger hair. Bolder rhythm. Deeper belonging. How does freedom on stage translate to freedom in life… and business?
3
Fact: Real transformation rarely starts at the centre. It erupts at the edges—where new stories take root, rules get rewritten, and legacy is up for grabs. Are you ready to amplify the margins?
4
Whose definition of excellence are you actually chasing? This conversation might just spark a rebellion—against inherited limits, stale traditions, and anyone who says “you can’t”.
5
Let’s get honest: What does true belonging look like when conformity isn’t the ticket? If you crave electrifying creativity + gutsy inclusion, you’re exactly where you need to be… and the next 5 minutes could shift your lens forever.
🎬 Reel script
On this episode of Inclusion Bites, I sat down with Nina Gilreith, co-founder of Ballethnic Dance Company, to explore what it truly means to centre the margins. We unpacked her ground-breaking journey transforming the face of ballet—melding tradition with black excellence, cultural authenticity and unapologetic joy. From challenging stereotypes and reimagining body standards, to building inclusive communities on and off stage, Nina Gilreith proves that innovation thrives when we embrace every story. Tune in if you’re ready to disrupt the status quo, ignite belonging, and witness how real change begins with bold conversations.
🗞️ Newsletter
Inclusion Bites Podcast Newsletter
Episode 204: Centering the Margins with Nina Gilreith
Dear Inclusion Bites Community,
Our latest episode, "Centering the Margins," delivers a rousing exploration of ballet beyond its Eurocentric roots, challenging assumptions and centring voices too often marginalised within established arts institutions.
This Episode’s Highlights
Challenging Ballet’s Traditions: Nina Gilreith, co-founder of Ballethnic, shares how she has spent over three decades reshaping ballet to be truly inclusive—integrating African dance, R&B, and authentic storylines, championing Black excellence, and showcasing diverse body types on stage.
Why Blending Matters: Classical ballet has long privileged specific aesthetics, but Nina Gilreith and her partner introduced undulating torsos, bold movement, and joyous expression, expanding what ballet can be and who gets to perform it. The result? Audiences from every background feel seen, and entire communities join in celebration.
From Margins to Mainstage: The discussion traverses the impact of Ballethnic’s Urban Nutcracker and “Leopard Tale,” bringing multi-generational, multi-abled casts and audiences together, challenging the singular narrative of “the ballet body,” and revealing that inclusion is not an add-on but the very heartbeat of artistic legacy.
The Barriers and the Breakthroughs: Nina Gilreith reflects candidly on decades of navigating funding gaps, cultural prejudice, and industry reluctance—yet presses forward, driven by the certainty that true representation and ownership belong to every community.
Rhetorical Moment
What would it look like if every cultural institution asked not, “Who have we always included?” but “Who have we overlooked—and how can we centre them?”
Take Action: Join the Movement
Follow Ballethnic’s journey at ballethnic.org
Watch their signature blend of ballet and African dance—see the stories, the movement, the liberation.
Consider who is missing from your spaces and what possibilities emerge when you centre them.
Have a story or perspective that challenges the norm? We'd love to hear from you. Email Joanne Lockwood at jo.lockwood@seechangehappen.co.uk and join us in sparking real change.
Missed this episode? Listen now or catch up on past conversations at https://seechangehappen.co.uk/inclusion-bites-listen.
Together, let’s ignite inclusion, one voice—and one bite—at a time.
🧵 Tweet thread
🎙️ Inclusion Bites Ep204: "Centering the Margins" with Nina Gilreith
1/ What does it really take to disrupt ballet's status quo and bring true belonging to the stage? This week on Inclusion Bites, Joanne Lockwood welcomes Nina Gilreith, co-founder of Ballethnic, for a conversation igniting inclusion in the arts 00:01:15. #InclusionBites #Belonging
2/ Ballet: rigid, Eurocentric, uniform—right? Not in Nina Gilreith’s studio. Imagine fusing classical technique with African dance, R&B, grounded movement and undulating torsos. Why? To centre black excellence and cultural authenticity, not force assimilation 00:09:45.
3/ Nina Gilreith asks: "What is a ballet body?" At Ballethnic, it’s any body moved by dance. Petite, large, curvy, all ethnicities—on stage, unapologetically present 00:11:41. Joy and self-expression are the standard, not stick-thin uniformity.
4/ "You hate ballet? We’ll show you a different kind of ballet." This is the radical invitation: dismantling elitism by making ballet accessible, relevant, and powerful for people who’ve never seen themselves on stage 00:11:03.
5/ How do you blend tradition with revolution? Imagine holding classical balances and letting hips, ribs, neck, eyes, even joy move. Nina Gilreith’s iconic ‘Leopard Tail’ stages undulating catsuits and live drums, smashing old limitations 00:18:44.
6/ Transformation goes wider than performers. Ballethnic’s Urban Nutcracker reimagines Tchaikovsky for Atlanta’s Sweet Auburn, with "Brown Sugar" and "Big Mama" leading the story 00:28:30. Generations of new audiences now feel ownership in ballet—across 30+ years.
7/ Inclusion isn’t buzz, it’s structure. Ballethnic welcomes neurodivergent dancers, people with disabilities, elders up to age 81 00:32:34. "If you can move and are committed, you belong," says Nina Gilreith.
8/ It’s not just Atlanta—a global vision is unfolding. From Tanzania to Amsterdam, the Ballethnic approach bridges cultures, dance vocabularies and generations 01:00:14. Where next? Indigenous, Maori, and Pacific Island forms are calling...
9/ Challenge: Why does only one ballet company get funded per city? Why are Black artists called only for ‘diversity slots’? Ballethnic fights for year-round inclusion, not just Black History Month tokenism 00:49:46.
10/ The lesson for every sector: To build inclusion, centre the margins. Design for community, not gatekeeping. Value authenticity and let new stories flourish 00:54:11.
11/ Ready to actually see what an inclusive ballet looks like? Catch video, stories, and movement at ballethnic.org or follow Nina Gilreith as NinaLeopardess on Instagram 01:04:23.
12/ Want more bold conversations disrupting the norm? Subscribe to Inclusion Bites: https://seechangehappen.co.uk/inclusion-bites-listen. Reach Joanne Lockwood at jo.lockwood@seechangehappen.co.uk to share your story or join the show.
#Inclusion #Dance #Ballet #Diversity #Culture #Neurodiversity #Community #SeeChangeHappen
Guest's content for their marketing
My Journey on The Inclusion Bites Podcast: Centering the Margins
Appearing as a guest on the Inclusion Bites Podcast was not only an honour, but a powerful opportunity to amplify the ethos and history that have shaped my work within the world of dance, belonging, and social transformation. In an episode titled "Centering the Margins," I shared my personal and professional story, the origins of Ballethnic, and the transformational possibilities inherent in recentering underrepresented identities within the ballet sphere.
Sharing the Vision of Ballethnic
For over three decades, I've been deeply committed to reimagining ballet—an art form historically dominated by Eurocentric ideals—by centring Black excellence, authenticity, and cultural truth. On the podcast, I discussed the genesis of Ballethnic: how the urge to blend the rigour of classical dance with the vibrancy and undulation of African forms unleashed something new. Ballethnic emerged precisely because spaces for Black dancers, and those whose bodies and movement languages lay outside prevailing norms, were either restricted or non-existent. We have not merely inserted ourselves into the canon; we've recast the narrative so that others can see themselves reflected, celebrated, and empowered.
Dance as Inclusion in Action
What does it mean to centre the margins? On the podcast, I explored how this is more than a theoretical exercise—it is lived experience. Through our work, Ballethnic actively challenges notions of who belongs on stage. Our dancers come in all shapes, sizes, and backgrounds, erasing the monolithic ‘ballet body’ stereotype. We embody the understanding that every body is a ballet body when given the space and training to express with skill and joy.
We also delved into the holistic health benefits of movement and connection, where age and ability are not barriers but are embraced within our multigenerational, neurodiverse community. The stories of elder dancers and young children finding their place in major performances illustrate how dance fosters confidence, wellbeing, and dignity for all.
Breaking Barriers, Building Legacy
During the conversation, I reflected on the hurdles Ballethnic has faced—from funding inequities and stereotyping to navigating the complex politics of inclusion. It was important to share how we’ve transformed every challenge into a catalyst for innovation, solidarity, and institution-building. Our perseverance has established Ballethnic as a vital, lasting force. We continue to rewrite what professional ballet can look like, always on our own terms and with purposeful joy.
Inclusion as a Revolutionary Practice
Joining Inclusion Bites gave me a platform to advocate for cultural relevance in the arts and challenge the notion that diversity is only required when it’s convenient or performative. True inclusion is about everyday practice and presence—not just fleeting moments of recognition.
Performances like the Urban Nutcracker and The Leopard Tale were highlighted as cultural touchstones that summon a spectrum of audiences and participants, providing immersive, rhythmic, and story-rich alternatives to traditional ballet. I emphasised the need to continue expanding this work globally, connecting Ballethnic’s ethos to other cultures and communities around the world.
Why This Conversation Matters
The Inclusion Bites Podcast is renowned for tackling powerful, transformative conversations. By sharing my journey and Ballethnic’s story, I aim to ignite imagination and encourage more individuals and organisations to disrupt norms, centre the margins, and invest in authentic inclusion. If just one listener is inspired to create space for themselves or others, then the legacy grows.
For those seeking to learn more, collaborate, or experience the joy of a Ballethnic performance, reach out and become part of this evolving community. Together, we dance not only for ourselves, but for the generations to follow.
Stay connected:
Website: ballethnic.org
Instagram: @ninaleopardess
YouTube: @ballethnic
Let’s keep the movement alive.
Pain Points and Challenges
Pain Points and Challenges Highlighted
Exclusion Within Traditional Ballet Culture
Barriers to Entry for Diverse Dancers
Society’s Narrow Definition of a 'Ballet Body'
Tokenism and Diversity Fatigue
Financial and Structural Inequality in the Arts
Resistance to Expanding Artistic Canon
Sustainability and Succession Concerns
Accessibility for Disabled and Neurodivergent Performers
Recognition Beyond Diversity Initiatives
Community Engagement and Audience Development
Addressing Each Issue
1. Exclusion Within Traditional Ballet Culture
Traditional ballet is steeped in Eurocentric forms, rigid body standards, and a narrow hierarchy, leaving Black and minoritised dancers feeling peripheral or invisible 00:09:45. This exclusivity is reinforced by historic elitism and aesthetic gatekeeping.
Centre the Margins:
Reimagine ballet’s foundational tenets by integrating movements, music, and narratives that represent diasporic and local experiences.
Promote new standards for inclusion that celebrate difference rather than assimilation.
2. Barriers to Entry for Diverse Dancers
Access to ballet training often requires significant financial resources, social capital, and geographic proximity—privileges not available to many marginalised communities 00:07:44.
Removing the Gate:
Develop scholarships and grassroots training for underrepresented talent.
Partner with community centres and local schools to make ballet instruction accessible at scale.
3. Society’s Narrow Definition of a 'Ballet Body'
The myth that only certain body types can engage with ballet prevents many from participating and thriving. Nina Gilreith described instances of being questioned for “non-ballet bodies” cast on stage 00:11:41.
Redefining Aesthetics:
Publicly challenge and deconstruct the ‘ballet body’ stereotype.
Produce performances showcasing all body types—affirming that movement ability, expression, and passion supersede template physicality.
4. Tokenism and Diversity Fatigue
Joanne Lockwood and Nina Gilreith acknowledged how institutions frequently only call for Black artists during Black History Month or for ‘diversity slots’ 00:51:09, reducing their art to performative gestures.
Centre Year-Round Equity:
Build year-round partnerships, not just during ‘diversity season’.
Demand sustained investment, reciprocal relationships, and representation in leadership, not simply on stage.
5. Financial and Structural Inequality in the Arts
Funding, venues, and institutional support deeply favour established, typically white-led companies. Nina Gilreith noted balletic institutions’ reluctance to share financial resources and infrastructure 00:49:14.
Redistributing the Pie:
Advocate for policy change in arts funding that actively addresses historical disparities.
Elevate donor awareness and encourage unrestricted gifts to minoritised-led organisations.
6. Resistance to Expanding Artistic Canon
The ballet establishment often rebuffs genre-blending and narrative innovation, treating tradition as both shield and barrier 00:53:07.
Agitate the Canon:
Curate bold, cross-cultural works and commission new composers, choreographers, and dramaturgs from underrepresented backgrounds.
Foster audiences who value innovation and challenge preservationist orthodoxy.
7. Sustainability and Succession Concerns
Many minoritised ballet organisations are reliant on a small group of founders, risking sustainability if succession plans are weak or under-resourced 00:58:31.
Build Enduring Infrastructure:
Devote resources to formal leadership development and archiving.
Secure property, digital platforms, and long-term institutional memory so the company outlives its founders.
8. Accessibility for Disabled and Neurodivergent Performers
Most traditional companies lack strategies to include people with visible or invisible disabilities 00:31:09.
Universal Access:
Develop adaptive teaching, choreography, and performance opportunities.
Welcome all people to the dance floor, changing “ability” from exclusionary to inclusive.
9. Recognition Beyond Diversity Initiatives
Performers and companies led by people of colour should be seen and valued on their own terms, not merely as “nice to have” add-ons 00:49:01.
Normalise Inclusion:
Integrate diverse works into core programming everywhere, not marginalised seasons or venues.
Share the narrative that Black excellence is global excellence, not an exception.
10. Community Engagement and Audience Development
The challenge of attracting audiences who felt alienated by ballet’s history remains, as Nina Gilreith described the creative efforts to make shows culturally resonant and visually thrilling 00:28:30.
Meet People Where They Are:
Use cultural references, local storeys, community narration, and inclusive casting.
Engage in dialogue, participatory performances, and open workshops.
In Summary
The journey from the margins to the centre requires more than a changing cast: it demands structural transformation, reimagined values, and the courage to centre joy, truth, and belonging. The work of Nina Gilreith and Ballethnic, as explored with Joanne Lockwood, provides a vivid blueprint for others committed to embedding radical inclusion in the creative world.
Questions Asked that were insightful
Potential FAQ Questions from the Interview
The conversation between Joanne Lockwood and Nina Gilreith surfaced several insightful themes and prompted comprehensive responses. The following questions—based directly on the dialogue—lend themselves to a valuable FAQ resource for the Inclusion Bites audience:
1. How did the concept of "Ballethnic" originate, and what problem does it address in traditional ballet?
See: 06:06 - 09:04
Nina Gilreith offers a detailed explanation of blending ballet and ethnic dance to create space and legacy for Black dancers, discussing their experiences in classical ballet and the impetus to reimagine the artform for broader representation and cultural authenticity.
2. What defines traditional ballet, and how does Ballethnic reinterpret these standards?
See: 12:34 - 18:28
Joanne Lockwood queries the characteristics of ballet, leading Nina Gilreith to dissect the formality, physical requirements, and the historical underpinnings—before describing how Ballethnic fuses classic ballet posture and technique with African and ethnic dynamics, empowering inclusivity and joyous self-expression.
3. How does Ballethnic support body diversity and challenge the stereotypical “ballet body” ideal?
See: 11:15 - 12:34
Nina Gilreith describes the deliberate inclusion of various body types and sizes, contesting the restrictive “ballet body” notion and spotlighting how audiences became more engaged when they saw themselves represented on stage.
4. Has Ballethnic created pathways for people with disabilities or neurodivergence to participate in dance?
See: 30:14 - 31:47
Joanne Lockwood asks how inclusive the form is for performers with physical or learning disabilities. Nina Gilreith articulates their ongoing commitment to adaptive dance education and access, stating that artistic expression should be available to all.
5. In what ways has audience engagement changed as a result of Ballethnic’s approach?
See: 27:37 - 30:02
Nina Gilreith shares how their productions draw diverse, intergenerational audiences, converting ballet novices into enthusiasts, and establishing new cultural traditions within their community.
6. What barriers—social, institutional, or financial—has Ballethnic encountered, and how were they overcome?
See: 46:51 - 51:09
Joanne Lockwood elicits reflection on systemic exclusions. Nina Gilreith candidly addresses challenges including age bias, racialised stereotyping, lack of institutional support, funding inequities, and the struggle for recognition beyond token diversity moments.
7. How does Ballethnic use storytelling to broaden ballet’s appeal and relevance?
See: 53:24 - 57:13
In response to a question about repertoire and innovation, Nina Gilreith outlines their commitment to telling unique narratives, celebrating Black migration, femininity, and community resilience—integrating elements that resonate both locally and globally.
8. What is the vision for the future of Ballethnic, and how can others get involved or support their mission?
See: 57:35 - 01:01:10
The discussion concludes with Nina Gilreith describing ambitions for expansion, global collaboration (including digitisation and cultural exchange), succession planning, and how listeners can engage with or support the company’s ongoing legacy.
These questions encapsulate not only technical and artistic insights, but also broader themes of belonging, representation, and social transformation—ideal for an ongoing FAQ series.
Blog article based on the episode
Centering the Margins: Igniting New Paradigms in Ballet and Belonging
What if the grand tradition of ballet, long critiqued for its exclusivity and rigidity, became a stage for every body, story, and identity? What if its most powerful performances happened not under crystal chandeliers, but in the lived authenticity of communities too long asked to stand at the edges of the dance floor? This is not a distant dream—it is the living legacy of Nina Gilreith and the Ballethnic Dance Company, shattering the status quo and recasting inclusion centre stage. In episode 204 of The Inclusion Bites Podcast—"Centering the Margins"—Joanne Lockwood uncovers how the world of dance, and society itself, can ignite when we dare to disrupt the norms.
The Margins as Centres: Redefining the Foundations
Imagine the iconic tableau of ballet: white tutus, tightly-bound hair, and statuesque bodies enacting tales of European lore. Yet, as Nina Gilreith articulates, this paradigm never reflected the pulsating reality of her community in Atlanta, where the majority were people of colour, but few could see themselves represented on stage. Ballet, for decades, was perceived as a bastion of wealth, privilege, and a very narrow interpretation of beauty—a space where assimilation was the price of entry. Those who did not fit the canonical body shape, skin tone, or cultural mould, found themselves perpetually at the margins 00:10:56.
But what happens when you stop asking permission to belong—and claim the right to reshape the narrative itself? That was the genesis of Ballethnic, a fusion of ‘ballet’ and ‘ethnic’, co-founded by Nina Gilreith and her husband. Their mission: to centre Black excellence, forge legacy, and create possibility, not as an afterthought, but as a founding principle 00:06:10.
The Problem: Endemic Exclusion and Artistic Assimilation
The challenges Nina Gilreith describes are emblematic of wider systems of exclusion. Whether in the Royal Courts of old or modern institutions, ballet's discipline was policed by tradition: strict costuming, rigid movements, and a profoundly narrow definition of both physical talent and artistic narrative 00:13:23; 00:14:15. Dancers had to stifle their natural bodies, straighten their hair, constrain their cultural expression, and emulate a singular version of grace 01:07:06.
The result? An art form celebrated for refinement, but disconnected from vibrancy and reality—the exclusion felt not only by those denied the stage, but also by audiences longing to see themselves in the performance. As Nina Gilreith put it, what, really, is a ‘ballet body’? Why must artistry always mean sameness? 00:11:15.
The problem, then, is twofold—structural exclusion and an impoverished cultural imagination. When ballet (and by extension, society) gatekeeps norms and calls diversity just for special occasions, the margins stay margins and the whole world is poorer for it 00:47:43; 00:51:09.
Reimagining the Stage: Proven Solutions and Next Steps
To shift this paradigm, Ballethnic did not merely add a "diverse" performer to an existing cast. Instead, they reimagined the entire architecture of what ballet could be. Here are some actionable strategies distilled from the episode:
1. Rework the Canon—Don't Just Insert Diversity
Ballethnic's Urban Nutcracker is not a tokenised retelling. The narrative is transplanted to Atlanta's Sweet Auburn Avenue, featuring the "Brown Sugar" fairy and characters who look and sound like the surrounding community 00:28:30. Similarly, "Leopard Tale" is a ballet where the undulation of hips, the flexing of bodies, and the energetic pulse of African drums disrupt ballet’s rigidity with joyous, polyrhythmic expression 00:18:28. Inclusion means reimagining narratives, not simply swapping faces.
2. Celebrate All Bodies and Abilities
From petite to curvaceous, young to more senior, neurodivergent to physically disabled, the embrace of difference is radical and holistic 00:11:32; 00:32:43. Every production features dancers aged 5 to 80, and people participate according to their ability and flair. What matters is not whether you fit a mould, but whether you bring passion and "move effectively in space" 00:12:08; 00:33:04.
3. Build Community, Not Just Company
Audiences become stakeholders, not passive observers 00:42:41. Family members help with costumes, local elders are not only celebrated but perform on stage, and the stories staged reflect cultural touchstones and lived experience. The result is houses packed with both ballet connoisseurs and first-timers, songs sung in chorus, and new traditions forged across generations 00:28:59; 00:43:20.
4. Challenge Tokenism and Economic Marginalisation
Barriers are structural: from the reluctance to fund more than one ballet company in a city, to only being invited for Black History Month 00:49:44; 00:51:09. Nina Gilreith insists that institutions interrogate why inclusion means celebration a few times a year, not sustainable investment. True belonging is a year-round endeavour.
A Blueprint for All Sectors
The Ballethnic model offers lessons far beyond the arts:
Examine core practices and ask who is excluded by design.
Invite those at the margins not just to participate, but to lead and innovate.
Value lived expertise as necessary for relevance and vibrancy.
Make financial and institutional commitments that transcend ‘diversity months’ and token gestures.
Celebrate difference as synergy, not deficiency.
Call to Action: Make the Margins the New Centre
The lesson from Nina Gilreith and this transformative episode is unmistakable: sustainable change happens not by tinkering at the edges, but by recasting who and what is central. Whether you are an HR director, a diversity champion, or someone standing on the threshold, ask yourself: Whose stories, bodies, and creativity are missing from your space? Are you ready to make space, legacy, and possibility where none was offered before?
If you are moved to action, start by listening to this vibrant conversation—"Centering the Margins"—and let it catalyse change in your community, workplace, or institution. Reach out to Joanne Lockwood at jo.lockwood@seechangehappen.co.uk to share your reflections or to be part of future episodes.
Inclusion is not spectacle—it’s everyday artistry. It’s not about being seen; it’s about belonging. As Nina Gilreith shows, when we dance from the margins to the centre, everyone finds new room to move.
Explore more from "Centering the Margins" and join us as we continue to disrupt norms—one audacious story at a time.
The standout line from this episode
We define it as a body that knows how to do ballet, but knows how to move effectively in space and creates excitement. Who cares if you have a stick thin body that's not exciting to watch, where you had these curvier bodies of all sizes?
❓ Questions
Discussion Questions: "Centering the Margins"
How did Nina Gilreith describe the origins of the term "ballethnik," and what does this blend reveal about the intentional disruption of traditional ballet spaces?
In what ways does the ballethnic style challenge established stereotypes around race, body type, and participation within the ballet community?
How does the fusion of ballet and African dance expand expressions of joy and embodiment on stage, as recounted by Nina Gilreith?
What barriers and prejudices did Nina Gilreith encounter while founding and growing her company, and how were these challenges navigated over time?
How has the inclusion of diverse audiences and performers—across age, body, and ability—reshaped both the creative process and audience experience for ballethnic performances?
Why is it important, as discussed in the episode, for arts organisations to move beyond being engaged only for diversity-themed occasions such as Black History Month?
In what ways do ballethnic performances use narrative and cultural context to expand the definition of ballet, and how does this affect community engagement and audience appeal?
How did the company’s experience at the Cultural Olympiad in Atlanta demonstrate the potential for cross-cultural collaboration and global recognition of their unique style?
What role does dance play in fostering lifelong health, confidence, and community for participants, according to Nina Gilreith?
Looking forward, what strategies does Nina Gilreith propose for ensuring the sustainability and global reach of ballethnic, and how can individuals contribute to this vision?
FAQs from the Episode
FAQ: Centering the Margins — Ballet, Inclusion, and Cultural Expression
What is Ballethnic and how did it originate?
Ballethnic is a pioneering dance company founded to blend classical ballet with African and other ethnic dance forms, creating space for Black excellence, authentic cultural narrative, and broader representation within the art. The concept emerged from Nina Gilreith and her husband’s personal experiences in the late 1980s with Atlanta Ballet, where they observed the absence of People of Colour within both the company and its audiences. Inspired to challenge norms and innovate, they developed the "Ballethnic" fusion—"ballet" and "ethnic"—with a commitment to legacy, space creation, and possibility-building 00:06:28.
How does Ballethnic differ from traditional ballet companies?
Ballethnic deliberately breaks the mould of conventional ballet, which has been shaped by Eurocentric standards, elitism, and exclusive ideals regarding body type and movement. Instead, Ballethnic is rooted in cultural authenticity, featuring diverse body shapes, ethnic backgrounds, and dance vocabularies. Their choreography integrates African drumming, R&B, and expressive torso and facial movements typically absent in mainstream ballet 00:11:15 00:18:06. The focus is on joy, community, and genuine representation rather than rigid aesthetic standards.
What does Ballethnic's approach to dance mean for body image and inclusion?
Ballethnic celebrates body diversity, placing dancers of varying shapes, sizes, and backgrounds on stage. The ethos challenges stereotypical notions of the 'ballet body', championing the principle that any body capable of learning ballet can belong and contribute meaningfully. This shift enables increased participation and visibility for those previously excluded or overlooked within traditional structures 00:11:23 00:12:23.
How is the audience experience different with Ballethnic performances?
Audience engagement at Ballethnic productions is immersive and participatory. Shows like ‘Leopard Tale’ incorporate live drumming, vibrant expression, and movement that often energise audiences into physical response—clapping, moving, and sometimes even joining encores. This approach fosters a communal, joyful spirit, contrasting with the often passive observation characteristic of traditional ballet events 00:43:20.
Does Ballethnic encourage participation from people with disabilities or older adults?
Yes. Ballethnic has actively welcomed dancers with physical or learning disabilities, as well as older adults, ensuring programming is flexible to individual needs and ability levels. Their large productions feature performers from ages 5 to over 80, highlighting community, movement as well-being, and lifelong engagement with dance 00:33:22 00:35:00.
What challenges has Ballethnic faced when centring the margins?
Ballethnic has encountered barriers such as scepticism regarding their longevity, presumed irrelevance, gender bias, and persistent underfunding relative to more established, Eurocentric ballet companies. They are frequently approached primarily for diversity initiatives, confronting the challenge of being seen as an 'everyday' part of the arts landscape rather than solely as specialists for Black History Month or targeted inclusion projects 00:47:05 00:49:32 00:51:09.
Has Ballethnic’s model influenced other dance companies?
While many companies blend genres, Ballethnic is among the first and most consistent in integrating authentic ballet with West African dance and broader ethnic concepts. They have extended their reach through workshops, performances, and collaborative projects internationally, including the US, Europe, and Africa, helping shift perceptions of ballet and performance art 00:58:03 01:00:32.
Where can I find more information or see Ballethnic performances?
For more information, videos, and engagement opportunities, visit ballethnic.org. Social channels include Instagram (@ninaleopardess and @ballethnic) and YouTube (@ballethnic). For further resources on inclusion, explore Inclusion Bites Podcast at seechangehappen.co.uk/inclusion-bites-listen or contact Joanne Lockwood at jo.lockwood@seechangehappen.co.uk 01:04:23.
Tell me more about the guest and their views
About the Guest: Nina Gilreith
00:01:22 Nina Gilreith is a co-founder of Ballethnic, a dance company that, for over three decades, has focused on reshaping ballet by centring Black excellence, belonging, and cultural truth. Her superpower lies in 'holding the line for Black dancers', creating space, legacy, and possibility where none was previously offered. She operates between Atlanta and Athens, Georgia, drawing inspiration from community and maintaining a strong connection to local culture and identity.
Key Perspectives and Insights
Centring the Margins in Ballet
00:06:28 Nina Gilreith advocates for redefining ballet traditions by blending classical techniques with African dance, R&B, and soul music to provide a vibrant, accessible alternative to the rigid, Eurocentric model. She emphasises the importance of visibility for people of colour in ballet, noting the historic underrepresentation both on stage and within ballet audiences, particularly in cities such as Atlanta where the majority population is of colour yet rarely attends traditional ballet.
Critique of Traditional Ballet
00:09:45 According to Nina Gilreith, mainstream ballet is steeped in elitism, favouring certain body types and perpetuating exclusionary aesthetics. She describes how Ballethnic deliberately challenges these norms by featuring diverse body types and ethnicities, foregrounding joy and expressive movement over rigid conformity. She asks rhetorically, "What defines a ballet body?" and proposes that excitement, skill, and passion matter more than conventional physique.
Innovation through Fusion
00:17:24 Nina Gilreith details Ballethnic's innovative approach: the fusion of ballet's disciplined elongation with the dynamic, polyrhythmic torso movements characteristic of African and ethnic dances. Signature works like "Leopard Tail" showcase both technical mastery and expressive freedom, allowing dancers to undulate hips and ribs while still performing pointe work. She draws metaphorical parallels between animal movement and dance, celebrating fluidity and authenticity.
Community, Inclusion, and Representation
Ballethnic's ethos is rooted in making ballet accessible to all, regardless of age, ethnicity, body type, or ability. Nina Gilreith underscores the value of intergenerational participation, with performers aged 5 to 80, and addresses neurodiversity and physical disabilities in her academy. The company actively involves families, older adults, and community members, exemplifying dance as a vehicle for belonging and holistic wellbeing.
Storytelling and Cultural Relevance
00:54:19 Nina Gilreith is passionate about telling culturally resonant storeys outside the Western ballet canon. She has collaborated on works like "Flying West", which explores Black migration and frontier life, using dance not only as artistic expression but as education and community empowerment. The narrative scope is intentionally broad, blending historical and contemporary themes, and always celebrating the heritage and diversity of performers.
Navigating Barriers: Societal and Artistic
00:46:51 Nina Gilreith has faced substantial barriers—prejudices relating to age, gender, race, body shape, and the assumption that only one company deserves prominence. She notes that early on, their legitimacy was questioned and funding was hard-won. Even now, she observes that their work is often only valued in the context of diversity initiatives or Black History Month and insists on broader recognition. Her strategy involves perseverance, rigorous advocacy, and leveraging community philanthropy to sustain their mission.
Vision for the Future
01:00:14 Nina Gilreith envisions expanding globally, digitising archives, and succession planning to ensure Ballethnic’s legacy. She advocates for continued learning, wider cultural exchange, and greater funding to support sustainable inclusion and creative innovation.
Personal Liberation and Authenticity
01:07:17 Nina Gilreith reflects on her journey to authenticity, symbolised by embracing her natural hair, rejecting earlier pressures to assimilate Eurocentric aesthetics. She celebrates liberation not just in movement, but in identity, encouraging dancers to express their whole selves, both physically and culturally.
Summary:
Nina Gilreith is a pioneering advocate for inclusive, innovative ballet rooted in cultural truth and community engagement. Her philosophy is clear: celebrate all bodies, centre joy and authenticity, disrupt stereotypes, and tell storeys that matter. Through Ballethnic, she has forged a legacy challenging the status quo and making space for those previously marginalised—on stage and beyond.
Ideas for Future Training and Workshops based on this Episode
Training and Workshop Ideas Inspired by "Centering the Margins"
1. Ballet as Inclusive Expression: Reimagining Movement
Explore blending classical ballet with diverse cultural dance traditions.
Practical movement sessions on releasing rigidity and embracing undulation, isolation, and groundedness as discussed by Nina Gilreith [17:24].
Emphasise accessibility for all body types, ages, and abilities.
2. Challenging Aesthetic Norms in the Arts
Critical analysis of the “ballet body” stereotype and its social roots, referencing Nina Gilreith's efforts to showcase bodies of all shapes, sizes, and backgrounds [12:08].
Activities to deconstruct internal biases and foster broader definitions of artistic beauty.
3. Storytelling Through Dance—Telling Untold Histories on Stage
Workshop on transforming community narratives, history, and migration into performances (referencing “Flying West” and “Leopard Tale” ballets [54:19]).
Tools for creative writing and choreography to amplify marginalised voices.
4. Building Communities of Belonging Through the Arts
Approaches to inclusive recruitment, audience development, and community engagement inspired by Nina Gilreith’s practice of casting people across age, size, ability, and background [33:22], [25:16].
Scenarios and roleplay on handling audience perceptions and generating buy-in for new artistic forms.
5. Resilience in Cultural Entrepreneurship
Sessions on overcoming barriers: funding bias, representation fatigue (e.g., being pigeonholed for “diversity” only during celebratory months [51:24]), and gendered assumptions in arts leadership.
Pair with problem-solving clinics, sharing tactics for sustaining mission-driven organisations.
6. Succession Planning and Intergenerational Learning in the Arts
How to design succession plans for legacy—drawing on Ballethnic Academy’s approach to grooming the next generation of leaders [58:16].
Involve interactive exercises on mentorship and generational knowledge transfer.
7. Adaptive Choreography for Neurodiverse and Disabled Dancers
Demonstration and practice of adaptive dance pedagogy for neurodiverse participants and those with disabilities, inspired by Nina Gilreith’s experiences incorporating neurodiverse dancers [31:19].
Collaborative design sprints for new inclusive class models.
8. Global Cross-Cultural Artistic Exchange
Modules on integrating rhythms, movement, and aesthetics from African, First Nation, Pacific, and other dance traditions (Nina Gilreith notes the value of global expansion [01:01:47]).
Design challenges on forging respectful cross-cultural collaborations and avoiding appropriation.
9. Joy, Wellness and Movement for All Ages
Workshops foregrounding movement for wellness rather than performance, drawing from Ballethnic’s engagement with dancers ages five to eighty-plus [33:22].
Address social isolation, confidence-building, and holistic health through communal dance.
10. Making Change Sustainable: Funding and Institutional Advocacy
Practical sessions about how to build institutional support for non-mainstream arts, campaign for fair funding, and push for policy change (Nina Gilreith on ongoing funding struggles [49:32]).
Panel discussions with case studies from successful minority-led arts organisations.
All content and ideas firmly rooted in the paradigms, experiences, and language of Nina Gilreith and Joanne Lockwood as shared in this episode. For further collaboration or bespoke sessions, contact Joanne Lockwood at jo.lockwood@seechangehappen.co.uk.
🪡 Threads by Instagram
Threads Post 1
Inclusion is more than a buzzword—it's a lived experience. Nina Gilreith shows how ballet can become a home for every body, every background, blending tradition and identity to reshape the dance world.
Threads Post 2
Why settle for the old ballet mould? Nina Gilreith fuses ballet with African dance, expanding expression, movement, and joy. Joanne Lockwood celebrates how every audience member feels the energy.
Threads Post 3
Can dance serve the whole community? Nina Gilreith invites elders, children, and those with different abilities onto the stage. Dance is for all—age, shape, and background do not limit belonging.
Threads Post 4
What does “centering the margins” mean? It’s about challenging stereotypes, inviting diversity, and using creativity to drive societal change. Joanne Lockwood and Nina Gilreith make inclusion tangible, not theoretical.
Threads Post 5
Ballet doesn’t have to be rigid—movement can reflect freedom, culture, and celebration. For Nina Gilreith, true dance is joy uncontained, and every performance is an open invitation to move and belong.
Leadership Insights - YouTube Short Video Script on Common Problems for Leaders to Address
Leadership Insights Channel
Have you ever noticed your team looking disengaged or overlooked? Here’s a common challenge: leaders often unconsciously centre the same voices and perspectives, leaving those at the margins feeling invisible.
So, what’s the solution?
Start by actively inviting contributions from every team member, especially those who might be quieter or from underrepresented backgrounds. Make space for their ideas—don’t just wait for them to speak up, seek their perspectives directly.
Be intentional in your meetings. Rotate who leads discussions, and celebrate diverse accomplishments, not just familiar success stories. Challenge your own assumptions about who “fits” a leadership mould.
When you centre the margin, you build belonging. Your actions signal that everyone matters, which fuels engagement, creativity, and ultimately, greater success for the whole team.
Empowered teams deliver extraordinary results—so lead with inclusion at the heart.
SEO Optimised Titles
35 Years of Breaking Ballet Barriers: How Ballethnic Attracts 2000+ Inclusive Audience Annually | Nina @ Ballethnic
500+ Seats Sold Out for Urban Nutcracker: Transforming Ballet through Black Excellence | Nina @ Ballethnic
From Atlanta to Amsterdam: The Global Impact of Ballethnic's 30-Year Dance Revolution | Nina @ Ballethnic
Email Newsletter about this Podcast Episode
Subject: What Happens When You Centre the Margins? (Inclusion Bites Ep.204)
Hello Inclusion Bites Family,
Ready for another round of thought-provoking conversation? This week, we serve a truly inspiring story that pirouettes on the edge of tradition and revolution: Episode 204 – “Centering the Margins” with the marvellous Nina Gilreith, co-founder of Ballethnic.
Pop in your earbuds and pour a cuppa—Joanne Lockwood meets Nina Gilreith for a journey that reshapes everything you thought you knew about ballet, inclusion, and belonging.
5 Keys You’ll Learn This Episode
1. Why Standing Still Isn’t an Option
Discover how classical ballet’s rigid mould led Nina Gilreith and her husband to invent “Ballethnic”—by fusing ballet with African dance traditions, creating space for bodies, rhythms, and voices routinely locked out.
2. Redefining the Ballet Body
Challenge the “perfect” ballet image. Ballethnic stages all shapes, sizes, and backgrounds—because artistry isn’t weighed or measured by Eurocentric standards.
3. The Power of Living Storytelling
Explore how lived experiences and community history inspire ballets like “The Leopard Tale"—it’s not just about watching, it’s about belonging, celebrating ancestry, and feeling the drumbeat pulse through every movement.
4. Inclusion for All Ages and Abilities
From dancing grandmas to disabled and neurodivergent participants, Ballethnic proves that dance should be radically accessible—building both confidence and connection.
5. The Art of Joyous Disruption
Find out how blending structure with spontaneity and heritage with innovation brings joy, energy, and a bit of glorious chaos that will leave you wanting to get up and move.
Unique Fact from the Episode
Did you know Ballethnic’s signature production, The Leopard Tale, sees dancers—ranging from age five to their eighties—moving fiercely en pointe while undulating and expressing like wild, joyful leopards? Imagine traditional pointe shoes customised with leopard spots, and a finale so energetic that dancers shed up to seven pounds from just one performance run (43:59)!
Ready to Step Beyond the Margins?
Jump into Episode 204: Centering the Margins, share it with a curious friend, and join the growing Inclusion Bites community. Got thoughts to share, stories to tell, or want to appear on the show? Drop a line to jo.lockwood@seechangehappen.co.uk—we love hearing from you.
Keep listening, keep learning, and never underestimate the power of shaking up tradition—you might just find your joy.
Warm wishes,
Jo
Inclusion Bites Podcast
Real talks. Disrupted norms. One community, one episode at a time.
https://seechangehappen.co.uk/inclusion-bites-listen
Potted Summary
Episode Summary
In this compelling episode of Inclusion Bites, Joanne Lockwood engages with Nina Gilreith, co-founder of Ballethnic, an innovative ballet company centring Black excellence, belonging, and cultural truth. Together, they explore the blending of ballet with African dance traditions, the dismantling of elitist paradigms, and the journey towards true artistic inclusion. Listeners are invited to examine what happens when the margins take centre stage.
In this conversation we discuss
👉 Ballet & identity
👉 Breaking stereotypes
👉 Radical inclusion
Here are a few of our favourite quotable moments
"We define it as a body that knows how to do ballet, but knows how to move effectively in space and creates excitement."
"You may look crazy because you’re used to looking proficient and graceful, but now you’re not going to look like that because you’re dealing in a mode that you’re not accustomed to."
"We create space for everybody... As long as you can move and that you’re committed to the movement and committed to the celebration of the full community."
Why listen?
This episode celebrates boundary-breaking creativity and real inclusion in the arts. If you care about cultural transformation, diverse storytelling, and discovering what ballet can become when everyone is invited, tune in for inspiration. Don’t miss it—listen to the full episode at Inclusion Bites Podcast.
LinkedIn Poll
LinkedIn Poll Framing & Content
Poll Context Summary
In this episode of Inclusion Bites, "Centering the Margins", Nina Gilreith shares how Ballethnic dance challenges traditional ballet norms, fosters true belonging, and redefines who gets to be seen and celebrated on stage. By blending ballet with African and global dance forms, Ballethnic opens doors to expression, diversity in body types, and authentic cultural narratives. We’re exploring what truly makes an art form—or any space—inclusive.
Poll Question
What do you believe is the most impactful way to create genuine inclusion in the arts?
Vote and share your thoughts! 👇 #Inclusion #Arts #Belonging #Diversity
Poll Responses
🎶 Reflect diverse cultures
🩰 Embrace all body types
🗣️ Amplify lived stories
🤝 Remove elitist barriers
Why Vote?
Your perspective helps spotlight where arts and culture can do better and how we can move from token gestures to true representation. Join the conversation to shape a more inclusive, expressive future for all.
Highlight the Importance of this topic on LinkedIn
LinkedIn Post
Just tuned into "Centering the Margins" on the Inclusion Bites Podcast with Joanne Lockwood & Nina Gilreith — and what an energising conversation! 🎧✨
Inclusion isn't a theoretical aspiration, it's about dismantling old paradigms to make every body visible, valued and celebrated.
The way Nina Gilreith recounted decades of challenging norms in ballet, whilst centring Black excellence and cultural truth, should be a provocation for us all in HR and EDI:
Are we holding space for real belonging—or simply inviting "diversity" into a status quo that refuses to shift? 🩰🌍
Their radical innovation reminds us:
⚡️ True lasting impact means dismantling stereotypes and learning from the margins
⚡️ Our policies must evolve from listening to those who have historically been excluded
⚡️ Joy, expression and authenticity must sit at the heart of every culture transformation
Feeling inspired to centre new voices, rethink what inclusion feels like, and redefine what legacy we want to leave in our organisations.
Powerful listen for every HR & EDI professional.
#Inclusion #Belonging #Diversity #EDI #HRLeaders #Transformation
L&D Insights
Key Takeaways for Senior Leaders, HR & EDI Professionals
Insights Uncovered
Reimagining Gatekeeping in the Arts 🎭
Nina Gilreith challenges the entrenched idea that only certain demographics or “body types” belong on stage, offering concrete evidence that inclusion drives both artistic innovation and audience engagement 00:12:08, 00:24:15.Inclusivity is a Strategic Choice, Not an Afterthought 💡
The success of Ballethnic shows that actively centring the margins—inviting underrepresented communities to both perform and attend—leads to wider, loyal audiences and deeper social impact 00:28:08, 00:29:18.Transforming Representation Beyond “Diversity Month” 🌍
The discussion surfaces the “aha” that many organisations still default to tokenistic inclusion (e.g., only seeking Black artists for Black History Month), rather than embedding EDI into year-round strategy 00:51:10.Community-Led Storytelling Fuels Authenticity 📢
Letting communities tell their own stories, with their own bodies and histories, fosters authenticity and can address disengagement with “traditional” offerings 00:54:19, 00:56:49.Challenging Definitions of ‘Talent’ and Success 🏆
The expanded view of talent to include all ages, abilities, backgrounds, and body types is not just ethical—it improves creativity, innovation and well-being in practice 00:32:34, 00:34:01, 00:34:54.
“Aha Moments”
Are existing policies reinforcing exclusion whilst paying lip-service to diversity?
Is your definition of ‘talent’ or ‘fit’ unconsciously narrowing your recruitment pipeline?
Could your organisation’s products or services be more innovative if you truly centred marginalised voices?
What constitutes ‘excellence’ or ‘success’ in your culture? Who decided this, and can it be challenged?
What Should Leaders Do Differently?
Broaden the Gateways 🌱
Review recruitment, promotion, and participation criteria—whose brilliance is systematically sidelined by the limits of your “mould”? Implement pathways for alternative talent and non-traditional candidates.Codify Year-Round Inclusion 📅
Move away from seasonal or event-driven diversity. Integrate authentic inclusion into strategy, not just communications calendars.Invest in Community Storytelling 🗣️
Provide spaces and resources for lived experience to shape culture, not just contribute to surface-level campaigns.Redefine Performance Metrics 📊
Question if your organisation’s metrics for excellence reinforce exclusivity. Adopt broader, community-informed measures of value.Champion Authentic Belonging 🏳️🌈
Foster environments where individuals are not required to fit the dominant aesthetic, narrative, or behavioural norms to be valued.
Recommended Social Hashtags
#EDILeadership
#InclusionByDesign
#BelongingAtWork
#AuthenticRepresentation
#BreakTheMould
Shorts Video Script
Social Video Title:
Why Inclusive Dance Matters: Centring Margins, Shattering Stereotypes #Inclusion #Representation
Suggested Hashtags:
#InclusiveDance #RepresentationMatters #Belonging #CentredOnTheMargins #DiversityInTheArts
Text on screen (Beginning):
Breaking Barriers in Ballet 🎭
Script:
Have you ever wondered what happens when you shatter old dance moulds and centre the margins instead? Let’s talk about why this shift in the world of ballet is so powerful.
Text on screen:
Who Decides Who Belongs? 🩰
Traditionally, ballet’s been the preserve of very specific body types, cultural histories, and, if we’re honest, a touch of elitism. But imagine a stage where every body type, every background, and every story not only belongs but is celebrated.
By weaving classic ballet with African dance, R&B rhythms, and the lived-experiences of marginalised communities, you create something electric—a space where everyone sees themselves reflected.
Text on screen:
Accessibility for Every Body ✨
This approach is about more than dance steps. It’s an open invitation. Dancers of all ages and abilities, from age five to eighty, get to own the stage. Neurodivergent, physically different, or never fitted the so-called ‘ballet body’? This space welcomes you—because movement is for everyone.
Text on screen:
Culture Meets Innovation 🌍
It’s not just about technique; it’s about storytelling. Communities bring their own culture, legacy, and innovation to the art. African, Asian, and Western forms blend together to form vibrant new narratives, showing that the arts can, and must, evolve to stay relevant and authentic.
Text on screen:
Breaking Stereotypes, Creating Change 💥
Yes, there are still barriers: from lack of funding to persistent stereotypes and being limited to ‘diversity’ events. But the lesson here? If you can no longer fit the mould, break it. Make room. Invite others in. That’s how change lives and breathes in our communities.
Text on screen:
Your Move: Centre the Margins ⚡
If you want to see the world look different, support work that champions diversity—not as a token, but as the new normal. Show up. Share. Celebrate what happens when everybody gets to dance.
Thanks for watching! Remember, together we can make a difference. Stay connected, stay inclusive! See you next time. ✨
Glossary of Terms and Phrases
## Specialist Concepts, Words, and Phrases
- **Centering the Margins**
*Implied definition*: Focusing on individuals and communities traditionally excluded or marginalised, and repositioning their experiences at the forefront of the artistic and societal conversation.
- **Ballethnik**
*Implied definition*: A portmanteau of "ballet" and "ethnic," representing a dance form that fuses classical ballet technique with African and other ethnic dance traditions, centring Black excellence and cultural expression.
- **Ethnic Ballet**
*Implied definition*: Ballet practice and performance that integrates movement styles, rhythms, and cultural aesthetics from African or other non-European traditions.
- **Legacy and Possibility**
*Implied definition*: The creation of a sustained impact and setting the groundwork for future generations, particularly for Black dancers where spaces and opportunities were historically denied.
- **Port de bras**
*Implied definition*: Traditionally a ballet term meaning "carriage of the arms," here referenced as part of ballet’s strict technical language and used as a foundation for further stylistic innovation.
- **Sur la pointe**
*Implied definition*: The ballet technique of dancing on the tips of the toes, usually with specially designed shoes; a symbol of advanced technical proficiency.
- **Undulation (of the hips and ribs)**
*Implied definition*: Fluid, wave-like movement of the torso, particularly associated with African dance and integrated here with classical ballet lines.
- **Polyrhythmic juxtaposition**
*Implied definition*: The simultaneous use of multiple contrasting rhythms in the body, especially combining the grounded, rhythmically complex movements of African dance with the upright, linear structure of ballet.
- **Groundedness (in dance)**
*Implied definition*: The quality of movement based in a lowered centre of gravity, in contrast to the lightness and verticality of classical ballet; a hallmark of African and many other non-European dance forms.
- **Body stereotypes (ballet body)**
*Implied definition*: The prevailing assumption that only certain slim, linear physiques are suitable for ballet, a construct being actively challenged in this context.
- **The Village (as metaphor for Community)**
*Implied definition*: Using the image of a village in the "Leopard Tale" ballet to symbolise inclusive, cross-generational community, where all body types and backgrounds participate.
- **Big Mama (narrative character)**
*Implied definition*: A storytelling device—a grandmother-like figure used to introduce and contextualise the ballet narrative for audiences unfamiliar with the form, making the story accessible.
- **Neurodiversion**
*Implied definition*: Embracing neurodiversity—people whose neurological development is outside the typical range—within the structure of dance classes and performances.
- **Integration of Live Drumming**
*Implied definition*: The incorporation of live African drumming within ballet performances to create an immersive, rhythmically dynamic environment.
- **Cultural Olympiad**
*Implied definition*: An arts festival associated with the Olympic Games, highlighting global and cross-cultural artistic representation.
- **Succession Plan**
*Implied definition*: A strategic approach to passing organisational leadership to the next generation, ensuring continuity and sustainability for Ballethnik.
- **Archivist / Digitisation**
*Implied definition*: The process of preserving the organisation’s legacy by storing, cataloguing, and converting historic performances and documents into digital formats for posterity and accessibility.
- **Elitism in Ballet**
*Implied definition*: The traditional exclusionary attitude and structures in ballet, prioritising certain backgrounds, body types, and training, challenged by the Ballethnik approach.SEO Optimised YouTube Content
Focus Keyword: Positive People Experiences
Title
Unleashing Positive People Experiences: Ballethnic, Culture Change & Authentic Belonging | #InclusionBitesPodcast
Tags
Tags: Positive People Experiences, inclusion, diversity, culture change, ballet, Ballethnic, black excellence, Nina Gilreith, Joanne Lockwood, belonging, representation, culture shift, accessible arts, community dance, wellbeing, intersectionality, arts leadership, authenticity, body positivity, adaptive dance, neurodiversity, storytelling, inclusive ballet, rhythm, transformation, SEE Change Happen
Killer Quote
Killer Quote: "We define a ballet body as a body that knows how to do ballet, but knows how to move effectively in space and creates excitement. Who cares if you have a stick thin body that's not exciting to watch, where you had these curvier bodies of all sizes?" – Nina Gilreith
Hashtags
Hashtags: #PositivePeopleExperiences, #CultureChange, #InclusionBitesPodcast, #SEEChangeHappen, #Ballethnic, #Inclusion, #Diversity, #RepresentationMatters, #AccessibleArts, #BodyPositivity, #RhythmAndMovement, #CommunityLeadership, #TransformativeCulture, #Neurodiversity, #Belonging, #DanceInnovation, #ArtsForAll, #Wellbeing, #Storytelling, #Authenticity
Why Listen
Welcome to the Inclusion Bites Podcast, where we spark culture change through authentic, bold conversations and showcase Positive People Experiences in action. In this visionary episode, I, Joanne Lockwood, sit down with the trailblazing Nina Gilreith—co-founder of the transformative Ballethnic Dance Company. Together, we pull back the velvet curtain on the world of dance to reveal how true inclusion and belonging can ignite not only art, but community, legacy, and self-belief.
Are you curious about what it genuinely takes to move beyond the surface of diversity and inclusion? Do you long to witness what happens when art forms like ballet—often tethered to tradition, elitism, and exclusion—are democratised and reimagined to centre black excellence and the lived realities of all intersectional identities? This is your invitation to step into a narrative where “Positive People Experiences” fuel palpable “Culture Change,” not just for those on stage, but every person in the audience and the wider community.
Nina’s journey, alongside her husband and creative partner, Waverly, is one of resilience, resistance, and creative joy—a thirty-five year odyssey where they refused to conform to restrictive norms which dictated who could dance, what bodies were 'acceptable', and silenced joy with the expectation of stoic, emotionless performance.
By blending the disciplined structure of classical ballet with the grounded freedom of West African dance, rhythmic R&B, and contemporary social vernacular, Ballethnic has rewritten what it means to belong in this elite artform. Gone are the days when ballet demanded assimilation and self-erasure. Here, joy, authenticity, and collective storytelling are just as important as technical mastery. Nina eloquently shares the genesis of “Ballethnic”—from standing in the wings during Swan Lake, imagining a stage where R&B swayed hips and ballet toes co-existed, to realising that vision in the heart of Atlanta’s vibrant black community.
Listeners will discover how these Positive People Experiences extend beyond performers to community members—children, elders, and those too often relegated to the margins in both arts and society. By intentionally including people of all sizes, backgrounds, abilities, and neurotypes, Nina’s Ballethnic performs radical culture change, rendering visible the truth that excellence is unbound by traditional moulds or stereotypes.
We also grapple with the sobering reality of the barriers that persist. From funding inequities and being dismissed as a ‘diversity project’ to the isolating experience of only being called upon for Black History Month, Nina’s candour offers a toolkit for advocacy and staying true to your mission, even when the system resists transformation.
But this episode is not just exposé—it’s an exuberant celebration. Hear how a performance of the Leopard Tale ends not in polite applause but in a communal, immersive eruption of rhythm and movement, dissolving the artificial divide between performer and spectator. Conclude the hour not only with a richer understanding of inclusion in dance, but fired with practical hope for actual cultural transformation in any sphere.
If you are invested in culture change—whether you are an executive, a DEI leader, an artistic director, educator, or simply an ally eager to foster more ongoing Positive People Experiences—this conversation will equip, challenge, and inspire you anew. Inclusion is not a buzzword or a one-off event. When embodied systematically—through transparent recruitment, community outreach, artistic risk-taking, and sustainable succession—it becomes a movement that centres the margins and reshapes the mainstream.
Listen for practical strategies, intimate stories, and game-changing wisdom about the power of authenticity, visibility, and joy as instruments of Culture Change. Whether you are sipping your morning coffee, reflecting on your own culture, or seeking innovative models for belonging, Unleashing Positive People Experiences will give you the roadmap and the motivation to move boldly towards a world where everyone—regardless of heritage, body, or background—can thrive and contribute creatively.
Closing Summary and Call to Action
This episode of Inclusion Bites Podcast offers a blueprint not just for performance innovation, but for embedding Positive People Experiences and driving authentic culture change in your own context. Here are the key learning points and actionable insights, distilled for you:
Redefining Excellence and Inclusion in the Arts
Challenge preconceived notions about who belongs and who is allowed to excel.
True inclusion means stepping beyond tokenistic diversity into structurally equitable opportunity and visibility.
Celebrating Body Positivity and Diverse Identities
Celebrate every body: excellence is not confined to one size or shape.
Value the power of representation—for black women, for Asian dancers, for neurodivergent movers, and for every intersectional identity.
Interrogating Tradition and Embracing Evolution
Question traditions that serve as mechanisms of exclusion.
Find ways to honour the discipline of an art form whilst reimagining its boundaries, infusing it with lived experiences and contemporary meaning.
Building Community and Lasting Legacy
Culture change is not an individual performance—it is community making.
Engage families, younger students, and elders in creative projects, making inclusion intergenerational and sustainable.
Commitment Beyond Diversity Moments
Inclusion must not be confined to awareness months or performative events: demand full integration into year-round programming, funding, and strategic conversations.
Transparency, Succession, and Organisational Change
Prepare intentionally for future leadership—train the next generation and install transparent succession plans to ensure lasting impact.
Use your platform to archive and share knowledge, so that more can build on your legacy.
Expanding Global and Intercultural Horizons
Seek partnerships across continents and cultures to exchange artistic perspectives and widen the movement’s reach—from West African drums to Aboriginal and Pasifika rhythms.
Making Space for All Abilities
Welcome performers with physical and learning disabilities, and adapt processes so all may participate meaningfully.
Understand that innovation flourishes where everyone has permission to bring their full selves.
Emphasising Wellbeing, Joy, and Long-term Participation
Prioritise joyful expression, not just technical perfection.
Recognise the public health benefits of long-term movement and community engagement—the science is clear: moving together, across generations, is vital to health and belonging.
Leveraging Storytelling as a Vehicle for Social Change
Use artistic storytelling to educate, challenge, and inspire new ways of seeing ourselves and each other.
Performances like Urban Nutcracker and The Leopard Tale are not mere entertainment, but communal education and collective celebration.
Actionable Insights:
Audit your own workplace or organisation for opportunities to centre Positive People Experiences: Whose voices are missing? Which traditions hold back new stories and new people?
Reorient programming and hiring towards long-term, integrated culture change, not quick wins.
Support and fund projects and companies like Ballethnic who are leading change on the ground.
Elevate and share stories of authentic inclusion and joy—invest in community engagement, not just audience numbers.
Encourage participants and audience alike to move, respond, and co-create—dissolve the boundary between ‘observer’ and ‘maker’.
Archive, document, and digitally share innovative work for future generations, ensuring the legacy endures and expands.
Whether in the arts, in the boardroom, or in your community, the principles in this episode—resilience, authenticity, radical celebration—are universally applicable. Positive People Experiences are not the result of chance, but of conscious, persistent, and collective commitment to culture change. Let this episode be your call to centre the margins and turn inclusion from a concept into daily lived reality.
Outro
Thank you, the listener, for tuning into another episode of Inclusion Bites Podcast. If you've been inspired by our pursuit of Positive People Experiences and culture change, please like, subscribe, and share this channel—so our community can keep growing and driving authentic transformation.
To discover more thought-provoking discussions and resources, visit:
Stay curious, stay kind, and stay inclusive - Joanne Lockwood
Root Cause Analyst - Why!
Root Cause Analysis: Key Problems in "Centering the Margins"
Key Problem Identified
Systemic exclusion and underrepresentation of Black and non-traditional bodies and stories in the world of ballet and mainstream performing arts.
1. Why does this problem exist?
Because traditional ballet institutions, performances, and training environments are predominantly shaped by Eurocentric ideals (body types, narratives, aesthetics), resulting in exclusionary practices and a lack of resonance for Black dancers and diverse communities 00:06:16.
2. Why are Eurocentric ideals so dominant in ballet?
Because ballet's evolution in the Royal Courts of Europe established standards of "perfection," including specific body shapes, pale skin, rigid technique, and elitism, codified into teaching methods, repertoire, and audience expectations. This codification excluded dancers who did not fit the narrowly defined norm 00:13:16.
3. Why did these exclusionary codifications persist across generations?
Because those in power—artistic directors, funders, critics—continued to reinforce these standards, rewarding conformity and assimilation, while discouraging innovation or deviation. Access to training, funding, and performance opportunities remained closed for those outside the majority group 00:48:07.
4. Why do those in power maintain restrictive access and standards?
Because systems of privilege and bias embedded in society at large reproduce themselves in the arts, where risk aversion, institutional racism, and a narrow view of "artistic excellence" reinforce the status quo. There is societal reluctance to cede authority, status, or resources to those who challenge existing norms, especially in predominantly white spaces 00:47:51.
5. Why is there such reluctance and slow progress towards true inclusion?
Because structural racism and bias are normalised and often invisible to those who benefit from them; discomfort with change, lack of awareness, and resistance to redistributing power or engaging authentically with different cultural perspectives persist. This inhibits not only artistic innovation but also genuine social transformation 00:49:05.
Summary of Findings
The root cause of underrepresentation and exclusion in ballet traces ultimately to entrenched Eurocentric and elitist values, reinforced structurally and culturally through institutional inertia, societal racism, and centralised power. The artistic canon and "ideal" dancer are policed not only by tradition, but by active gatekeeping. This leads to lack of visibility, opportunity, and recognition for diverse talents and storeys, stifling the field's relevance and vibrancy.
Potential Solutions
Redefine Ballet Excellence
Expand the artistic canon and standards to include and celebrate diverse body types, cultural narratives, and technical styles, as championed by ballethnic's model 00:12:11, 00:12:41.
Decentralise Gatekeeping
Diversify leadership, boards, adjudication panels, and funders so that multiple perspectives are truly present and wield decision-making authority 00:11:48, 00:49:32.
Redistribute Resources
Ensure equitable access to funding, training facilities, and performance spaces for underrepresented companies and artists. Do not restrict support to "special events" like Black History Month, but provide ongoing investment 00:51:56.
Challenge Societal Narratives
Centring community storeys, affirming local identities, and using art to actively challenge stereotypes and transform perceptions about who belongs in ballet 00:54:19.
Build Succession and Legacy
Proactively mentor, train, and elevate the next generation to ensure sustainability, rather than one-off inclusion 00:58:13.
Instil Audience Education and Engagement
Transform audience expectations through immersive, inclusive programming and education, creating demand and genuine appreciation for new narratives 00:43:20, 00:29:05.
Conclusion:
Addressing deeply rooted exclusion in ballet requires intentional, ongoing deconstruction of restrictive norms and redistribution of power and opportunity. Models centred on diversity, such as ballethnic, prove both socially necessary and artistically innovative—offering a blueprint for systemic change and genuine inclusion.
Canva Slider Checklist
Episode Carousel
Slide 1
Who Decides Who Belongs in Ballet?
Is the stage truly open to every body, culture, and story?
Slide 2
Meet the Changemaker
Joanne Lockwood sits down with Nina Gilreith: co-founder of Ballethnic, a company redefining ballet by centring Black excellence, authenticity, and freedom of expression.
Slide 3
Breaking the Mould
Traditional ballet was built on narrow ideals—body, race, story. Nina Gilreith and her community dared to ask:
What happens when you blend African dance, R&B, and all bodies into ballet?
Spoiler: The result is revolutionary joy and true belonging.
Slide 4
Stories from the Margins
From challenging stereotypes and elitism to inviting all generations and abilities on stage, this conversation explores how Ballethnic ignites culture, disrupts norms, and empowers underrepresented voices—one powerful performance at a time.
Slide 5
Ready to Reimagine Inclusion?
🎧 Listen to “Centering the Margins” on Inclusion Bites.
Challenge what you think you know about ballet, and discover how real change comes from the edges.
🔗 Catch the episode now!
#LinkInBio
#InclusionBites #BalletForAll #CenterTheMargins
6 major topics
Centering the Margins: Rethinking Inclusion and Ballet
Meta Description: Explore how inclusion transforms ballet and society, as we journey through the artistry, challenges, and innovative evolution shared by Nina Gilreith of Ballethnic and Joanne Lockwood on the transformative power of centring the margins.
When I sat down with Nina Gilreith, co-founder of Ballethnic, I realised I was in for much more than a mere discussion about dance. Our connection dove deep—unearthing storeys of bold transformation, joyful resistance, and the power of inclusion to disrupt artistic and societal norms. I want to take you inside that dialogue, highlighting the six pivotal topics that left me moved, challenged, and inspired. The wonder of inclusion is far richer than the tick box; it’s alive, expressive, and energetic—and that’s precisely what Nina brings to everything she touches.
1. The Evolution of Ballethnic: Crafting Inclusion Through Movement
Nina’s journey begins within the confines of classical ballet—where belonging wasn’t designed for black artists, and where most couldn’t even imagine seeing themselves on such a stage. Together with her husband, Nina set out to challenge this legacy, founding Ballethnic with a determination to blend the structure of ballet with African dance and black cultural expression [00:06:28]. A point of curiosity: What happens when finely tuned ballet lines meet undulating hips and shoulders, or when the stillness of ballet is set alight by R&B rhythms?
I was struck by how this was never just about representation. It was Nina’s superpower: “holding the line” for black dancers, crafting possibility where there was none before [00:01:42]. The inclusion Nina advocates is an act of cultural restoration. She challenges the ballet establishment to reimagine who belongs and whose storeys are told, proving that inclusion is an art form in itself.
2. The Anatomy of Traditional Ballet and the Need for Change
We delved into what makes ballet, ballet: the rigid costumes, the elongated limbs, the pointed toes, and the meticulous technique [00:13:10]. But for whom was this art form created—and who has been asked to squeeze themselves into its narrow moulds? Nina invited us to question not only the form, but the ideology underpinning it. Why does “ballet body” still mean something so exclusive? [00:11:46]
Nina’s reflections have stayed with me: If the grace of ballet is not extended to every body, every culture, every identity, what is the point of “grace” at all? The journey towards inclusion asks us, quite simply, to redefine excellence.
3. Blending Styles and Cultures: From Swan Lake to Leopard Tail
Now comes the magic. By fusing ballet with African, R&B, and various world music traditions, Nina and Ballethnic offer a living example of inclusion in action [00:17:24]. Imagine: muscular control and discipline meeting the fluid freedom of the trunk and hips; a stage alive with curvier bodies, larger hair, wider smiles—all in tight, animal print catsuits celebrating the leopard’s agility in “Leopard Tail” [00:18:28]. The visceral joy Nina describes exudes the very thing so often missing from conventional ballet—connection.
Here’s my curiosity: What does it do to an art form when the energy of everyone—regardless of age, shape, or background—joins in? The result is not just “inclusive ballet,” but an entirely new vernacular of movement and storytelling [00:34:01].
4. Uncovering Barriers: Prejudice, Stereotypes, and the Fight for Resources
The path to inclusion is rarely smooth. Nina shared hard truths about funding obstacles, societal prejudices, and gendered assumptions—like always handing “the man” the cheque, ignoring her leadership [00:48:07]. More pointedly, she recounted how greater Atlanta would summon Ballethnic only for celebratory “diversity” events, but not for their artistry year-round [00:48:51].
Do we only want inclusion on our own terms? Nina calls on us to champion artists and communities beyond prescribed seasons or surface gestures. There is a quiet courage in her continued advocacy for equal resources, recognition, and genuine belonging.
5. Intergenerational and Accessible Inclusion: Dancing at Every Stage of Life
One of the most joyful revelations was how Ballethnic welcomes dancers aged five to 81 and beyond [00:32:43]. Their productions feature older adults, children, neurodivergent artists, and those whom mainstream ballet would sideline. There are roles for everyone, including “Professor Isaac’s entourage” and community elders who prove the health benefits of movement extend far beyond the young and lithe [00:33:04].
Curious about what inclusion looks like in practice? Picture the finale of “Leopard Tail”: a circle stretching across the generations, moving in euphoric synchrony, drummers alive, everyone—audience included—caught up in collective celebration [00:43:41]. This, for me, is the true heart of inclusion.
6. Storytelling and Global Expansion: Shaping a New Canon for Inclusion
Finally, Nina’s vision stretches well beyond Atlanta. She recounted performances at the Cultural Olympiad, collaborations with artists from Burkina Faso, and a passionate drive to digitise and archive their legacy for future generations [01:00:14]. With every new narrative—whether about African roots, migration, or universal themes—Ballethnic shows how inclusion is an ever-expanding, ever-evolving force [00:57:35].
Imagine inclusion not as a fixed destination, but as a global conversation—one that continually absorbs new influences, celebrates every participant, and generates joy and curiosity. Where could you see this movement going next? The answer, perhaps, is only limited by our willingness to imagine, and to include.
Inclusion—Alive, Expressive, Limitless
My conversation with Nina taught me that inclusion is not just an initiative; it is a living, creative pulse that runs through every meaningful transformation. When we centre the margins, we do not simply make space—we expand what the stage of possibility can hold. I’m left, still, with questions, excitement, and a vision for inclusion that dances far beyond the overture.
If you’re ready to be inspired by inclusion in all its dimensions, I invite you to join the movement—jump in with both feet, hips, and heart. Let’s keep the rhythm alive.
For more, listen and connect at SEE Change Happen – Inclusion Bites Listen and drop me an email at jo.lockwood@seechangehappen.co.uk to share your thoughts, your storeys, or simply to keep this vital conversation moving forward.
TikTok Summary
Centering the Margins: Ballet Like You’ve Never Seen It
What happens when you blend the power of Black excellence, African roots, and ballet that defies the mould? 💥 Join Joanne Lockwood and Nina Gilreith as they flip the script on tradition—celebrating ALL bodies, ALL backgrounds, and pure cultural joy. From pointe shoes to leopard tales, it’s inclusion in motion. Ready for a taste of a new kind of stage? 🎭✨
See more, hear more, and challenge EVERYTHING you thought about belonging:
👉 Inclusion Bites Podcast – Listen Now
#Inclusion #Diversity #BalletUnfiltered #CulturalJoy #InclusionBites #CenterTheMargins
Slogans and Image Prompts
Slogans, Soundbites, Quotes, and Hashtags
1. "Centering the Margins"
AI Image Prompt:
A vibrant, energetic dance silhouette set on a dynamic stage that gradually transforms from the edges towards a bright, illuminated centre. Diverse dancers, various body types, and expressive movement blend classical ballet posture with the vibrancy of African dance. Bold, modern text overlays the scene: “Centering the Margins”.
2. "Joy Has to Be Expressed"
AI Image Prompt:
A joyful dancer mid-leap, face radiant with a huge smile, hands reaching upwards. The setting is colourful and abstract, with musical notes and waves of colour radiating outwards, illustrating exuberant motion. Large, expressive lettering overlays: “Joy Has to Be Expressed”.
3. "Every Body Matters"
AI Image Prompt:
Dancers of all shapes, sizes, and backgrounds stand arm in arm, centre stage, in a proud tableau. Each dancer is dressed in vibrant costumes reflecting both ballet and African influences. The phrase “Every Body Matters” curves above in inclusive, bold script.
4. "We Define Ballet Bodies"
AI Image Prompt:
A line-up of powerful, confident dancers, each with unique forms, standing en pointe. Afro-textured hair, cornrows, and natural hairstyles mix with expressive movement and classical poses. Artistic typography proclaims: “We Define Ballet Bodies”.
5. "Real Moves. Real People. Real Stories."
AI Image Prompt:
Three strong, portrait-style illustrations: one dancer stretching on pointe, one in mid-African undulation, and one in expressive streetwear. Faces show authenticity and emotion, set against a rich, textured backdrop of fabric patterns and theatre lights. Tagline below: “Real Moves. Real People. Real Stories.”
6. "Ballet with a Pulse"
AI Image Prompt:
A dancer with a bare foot and a pointe shoe, each on one leg, standing in a heartbeat-shaped spotlight. Drum silhouettes and music waveforms blend with classic ballet motifs in the background. Dynamic block lettering: “Ballet with a Pulse”.
7. "From the Margins to Centre Stage"
AI Image Prompt:
A group of dancers is emerging from shadowed edges into the centre of a spotlight-lit stage, their forms growing more colourful and powerful as they progress inward. The energetic script overlays the top: “From the Margins to Centre Stage”.
8. "Move. Merge. Celebrate."
AI Image Prompt:
Three dancers form a circle, their costumes blending classical tutus with vibrant African prints. Their movements interlace like a Venn diagram, illuminated by golden spotlights. Modern celebratory font: “Move. Merge. Celebrate.”
9. #UndulateTheMould
AI Image Prompt:
A single dancer’s wavy silhouette breaks through the strict, straight lines of a classical ballet grid. The background explodes with bright colour undulations and traditional patterns, with the hashtag bold at the bottom: “#UndulateTheMould”.
10. "We Will Still Be Black in March"
AI Image Prompt:
A calendar page flipping from February to March, with a bold, confident dancer holding a raised fist and a ballet shoe. The background is powerful, warm, and unapologetic. The text is strong and elegant: “We Will Still Be Black in March”.
Hashtags for Stickers and Social Media
#CenteringTheMargins
#EveryBodyMatters
#JoyExpressed
#BalletWithAPulse
#RedefiningBallet
#MoveMergeCelebrate
#FromMarginsToCentre
#UndulateTheMould
#BallethnicBold
#RealMovesRealPeople
These designs blend visibility and empowerment, ensuring merchandise invites conversation and celebration of inclusion, movement, and belonging.
Inclusion Bites Spotlight
In this month’s feature episode, Centering the Margins, Nina Gilreith joins Joanne Lockwood on The Inclusion Bites Podcast to ignite a conversation about redefining the boundaries of ballet and belonging. As co-founder of Ballethnic Dance Company, Nina Gilreith has spent over three decades reshaping classical dance to centre Black excellence, cultural authenticity, and community spirit.
Through her journey, Nina Gilreith illustrates the power of dance as both individual expression and collective celebration. Ballethnic’s approach blends the discipline and tradition of classical ballet with the vibrancy, groundedness, and storytelling of African and African-American dance. This fusion disrupts restrictive norms around who belongs on stage—challenging the narrow standards of body type, identity, and presence typically associated with ballet.
Nina Gilreith shares how Ballethnic’s evolution has foregrounded inclusivity—not only in its movement vocabulary but in its commitment to representing all bodies, ages, abilities, and backgrounds. From the "Leopard Tale" to the Urban Nutcracker, their productions serve as powerful metaphors for liberating the body and spirit, inviting the whole community into the narrative.
With Joanne Lockwood, Nina Gilreith discusses the challenges of navigating stereotypes, gatekeeping, and the persistent expectation to be visible only at the margins of the arts sector. Together, they explore what it takes to claim space, create legacy, and move beyond performative representation—insisting that inclusion must be everyday, not occasional.
This episode is a celebration of dance as activism and a blueprint for centring the margins in every sphere of life. For anyone determined to question whose stories are told and who gets to flourish, Nina Gilreith offers both inspiration and a bold invitation to reimagine belonging.
YouTube Description
YouTube Description: Centering the Margins – Inclusion Bites Podcast (Ep. 204)
"If you think ballet is all white tutus and rigid tradition, it's time to change your perspective."
Dive into a compelling conversation on the Inclusion Bites Podcast as Joanne Lockwood sits down with Nina Gilreith, co-founder of Ballethnic Dance Company, for Episode 204: Centering the Margins. Together, they shatter expectations and reveal how ballet can become a dynamic, inclusive space that truly reflects our diverse world.
What if ballet could centre black excellence, celebrate all body types, and empower true cultural expression?
In this episode, discover:
The origins of Ballethnic Dance Company’s unique blend of ballet and African dance concepts
How challenging body stereotypes and elitism expands the art form’s reach
Why centring marginal voices is essential for creating enduring legacy and belonging
The power of movement to transform health, confidence, and community cohesion at any age
Insightful, provocative, and uplifting – this conversation will make you rethink what inclusion looks and feels like, both on and off stage.
Reflect on how dance can shape identity, belonging and collective joy – inspiring you to:
Advocate for representation and diversity in all creative spaces
Challenge assumptions about who gets to participate in traditional art forms
Support inclusive organisations that broaden cultural narratives
Embrace your own physicality, creativity and lifelong learning through movement
Take Action:
Visit ballethnic.org to learn more, watch their remarkable performances, and share your story or feedback with Joanne Lockwood at jo.lockwood@seechangehappen.co.uk. Subscribe to the Inclusion Bites Podcast for more thought-provoking episodes disrupting norms.
#Hashtags
#InclusionBites #Ballethnic #BlackExcellence #DiversityInTheArts #BodyPositivity #CulturalBelonging #DanceInclusion #RedefiningBallet #CommunityThroughDance #SocietalChange
Let this episode be your spark to think, feel and act more inclusively — igniting transformation, one conversation at a time.
Listen now: https://seechangehappen.co.uk/inclusion-bites-listen
10 Question Quiz
Quiz: Inclusion Bites Podcast – Centreing the Margins
Based exclusively on the recordings from Joanne Lockwood
Questions
What is the primary focus of the Inclusion Bites Podcast as described by Joanne Lockwood?
A) Business entrepreneurship
B) Inclusive cultures and nurturing belonging
C) Sport and leisure activities
D) Technical innovationsAccording to Joanne Lockwood, what role does the podcast play for its audience?
A) Offers technical training
B) Provides recipes and cooking tips
C) Serves as a sanctuary for bold, transformative conversations
D) Hosts musical competitionsHow does Joanne Lockwood typically engage the listeners at the start of each episode?
A) With a musical number
B) By inviting them to reflect and inspire action
C) By telling a fictional story
D) With a sports updateWhat encouragement does Joanne Lockwood provide to listeners who want to participate further?
A) “Submit a donation”
B) “Reach out via email to share insights or join the show”
C) “Send in their dancing videos”
D) “Sign up for our newsletter”In episode 204, what topic does Joanne Lockwood introduce alongside the episode’s guest?
A) Climate science
B) Centreing black excellence and cultural truth in ballet
C) The history of jazz music
D) Computer programming for beginnersThroughout her introduction, what sentiment does Joanne Lockwood convey about inclusion?
A) That it is only for elite professionals
B) That everyone deserves to feel they belong and thrive
C) That it is a short-term project
D) That it is a divisive conceptJoanne Lockwood compares what aspect of the UK to Georgia, USA, during her introduction?
A) The music scene
B) Weather conditions
C) Fashion styles
D) Technology companiesHow does Joanne Lockwood frame the transition into the conversation on inclusive ballet?
A) She dismisses traditional ballet entirely
B) She highlights the need for new outlets for those not fitting the “Swan Lake view”
C) She mandates strict traditional forms
D) She focuses on commercial dance onlyWhat method does Joanne Lockwood use to add relatability and warmth to the show in the introduction?
A) Telling jokes about cats
B) Referencing everyday routines like morning coffee
C) Giving dieting advice
D) Narrating bedtime storiesAccording to Joanne Lockwood, what should a listener do if they wish to make their voice heard on the podcast?
A) Call the show live
B) Reach out via the provided email address
C) Submit a written essay
D) Show up at the studio unannounced
Answer Key & Rationale
B) Inclusive cultures and nurturing belonging
Rationale: Joanne Lockwood describes the podcast as delving into inclusive cultures and nurturing belonging.C) Serves as a sanctuary for bold, transformative conversations
Rationale: The host welcomes listeners to their “sanctuary for bold conversations that spark change”.B) By inviting them to reflect and inspire action
Rationale: She prompts listeners to “connect, reflect, and inspire action together.”B) “Reach out via email to share insights or join the show”
Rationale: Listeners are encouraged to contact her via email for insights or participation.B) Centreing black excellence and cultural truth in ballet
Rationale: The episode and guest are introduced in the context of reshaping ballet to centre black excellence, belonging, and cultural truth.B) That everyone deserves to feel they belong and thrive
Rationale: Joanne Lockwood questions “what it takes to create a world where everyone belongs and thrives.”B) Weather conditions
Rationale: She remarks on British weather and asks the guest about Georgia’s weather.B) She highlights the need for new outlets for those not fitting the “Swan Lake view”
Rationale: The host introduces ballethnic as an outlet for people not fitting the typical mould of traditional ballet.B) Referencing everyday routines like morning coffee
Rationale: She mentions both morning coffee and winding down after a long day, connecting to the listener’s daily life.B) Reach out via the provided email address
Rationale: Joanne Lockwood explicitly gives her email for listener participation.
Summary Paragraph
Joanne Lockwood establishes Inclusion Bites as a podcast focused on inclusive cultures and nurturing belonging, serving as a sanctuary for bold, transformative conversations. She opens each episode by inviting listeners to reflect, connect, and inspire action, ensuring her approach feels accessible through touches like referencing daily routines. Listeners are encouraged to participate by reaching out via email to share their insights or join the show. In episode 204, the conversation spotlights centreing black excellence and cultural truth within ballet, particularly for those not fitting the stereotypical “Swan Lake view.” Joanne Lockwood underscores that everyone deserves to belong and thrive and adds relatability by discussing comparisons such as the weather in the UK and Georgia, USA. Ultimately, she makes it clear that all voices are welcome in this inclusive, action-driven community.
Rhyme Scheme and Rhythm Podcast Poetry
Centering the Margins: A Ballet Unbound
On city streets where culture blends,
A fresh new rhythm boldly sends
An open call to every heart
To shape anew the world of art.
No Swan Lake stage of faded rules,
No mirrors echoing the old schools—
Here bodies bloom in every size,
Joy blazing fierce in untamed eyes.
The ballet’s framework—once so tight—
Now pulses with a broader light,
Where leopards leap and village drums
Summon each spirit as it comes.
Not just a slender, silent line
Or stretched-up arms by strict design:
But hips that ripple, shoulders sway,
Expressions dance with freedom’s say.
All colours, cultures, genders meet
And carve their truth with hands and feet;
From pointe shoe’s tip to drummers’ roar,
From toddlers five to elders more.
No costume here that masks the soul—
Just unity, one vital whole.
The lonely sidelined now belong:
A gathered theatre, fierce and strong.
The barriers bent, traditions turned,
By stubborn hope and lessons learned;
Against the odds each dancer grows,
Beneath the lights—resilience shows.
So come and witness, come and learn—
Let spirit spark, let biases burn.
In every story, space and sound,
The margins rise and take their ground.
If this glimpse of change inspires your sight,
Subscribe and share—help spread the light.
With thanks to Nina Gilreith for a fascinating podcast episode.
Key Learnings
Key Learning & Takeaway
The episode "Centering the Margins" demonstrates that redefining classical ballet through the intentional centring of Black excellence, cultural truth, and a broad spectrum of identities is not only possible but essential. By blending traditional ballet with African dance concepts and inclusive community involvement, Nina Gilreith and her colleagues have created a genre where all bodies, backgrounds, and abilities are not merely tolerated but celebrated as integral to the art form’s evolution and resonance.
Point #1: Redefining the Ballet Aesthetic
Ballet, traditionally exclusive and standardised, can and should be reimagined to accommodate diverse body types, cultural expressions, and lived experiences. Nina Gilreith challenges the notion of the ‘ideal ballet body’, proving that excitement and artistic excellence arise from diversity, not homogeneity.
Point #2: Inclusion Drives Innovation
Fusion of ballet with African dance, R&B, and expressive storytelling amplifies both accessibility and vibrancy. Nina Gilreith reveals that audience engagement and performer fulfilment soar when space is made for authentic cultural narratives and lived joy, rather than strict adherence to elitist tradition.
Point #3: Community as Creative Centre
The success of Ballethnic is rooted in building legacy through intergenerational and cross-cultural participation. Involving everyone from young children to elders (including those who might be overlooked elsewhere) transforms performance from spectacle to immersive, communal celebration.
Point #4: Persistent Advocacy Is Essential
Overcoming systemic and societal barriers—racism, funding inequities, and tokenism—requires vision, tenacity, and self-determination. Nina Gilreith’s journey illustrates that holding the line for inclusion creates opportunities not only for individuals but for structural transformation within the performing arts.
Book Outline
Book Outline – Centred at the Margins: Reclaiming Ballet, Belonging, and Black Excellence
Working Title Suggestions
Centred at the Margins: Reclaiming Ballet, Belonging, and Black Excellence
From Swan Lake to the Leopard’s Tail: Redefining the Dance Narrative
Ballethnic: Building Legacy, Inclusivity, and Cultural Truth in Ballet
Bodies in Motion: Inclusion, Resistance, and Community Through Dance
Preface
Introduction to journey: reshaping ballet, creating space for Black dancers, and challenging old paradigms.
Statement of intent: a manifesto for inclusive, community-centred, and culturally rooted artistry.
A brief context for the creation of Ballethnic and the lived experience that inspired a movement.
Chapter-by-Chapter Outline
Chapter 1: The Spark—Reimagining Ballet
Summary:
Lays the groundwork by probing the roots of classical ballet, its elitist and exclusionary history, and what catalysed the drive to launch a new movement. Sets the stage for a narrative of change.
Subheadings:
The Allure and Alienation of the Classical Canon
Finding Identity Among the Swans and Giselles
Mixing it Up: From Social Dancing to Studio Practice
The Naming: Merging Ballet and Ethnicity
Quote:
“I would always say, where are the Black people? The Black children? Surely there are people like me that would want to be doing this thing.”
Visual Aid:
Timeline of ballet’s evolution, from Royal Court origins to modern fusions.
Interactive Element:
Reflect on a time you recognised a space that did not include “people like you.” What would transformation look like?
Chapter 2: Breaking the Mould—The Practice of Difference
Summary:
Analysis of the structural and aesthetic conventions of ballet. Examines confrontations with body image, movement vocabulary, and inclusivity.
Subheadings:
The Rigid Body and the Fluid Self
“What defines a ballet body?” Decolonising Physicality
From Assimilation to Liberation: The Joy of Expressiveness
Centring Blackness, Welcoming All
Quotes:
“We decided to just blow the mould out. I love the structure of ballet…but again, once you get to that level of knowledge and proficiency, what’s next?”
“Who cares if you have a stick thin body…we define it as a body that knows how to move effectively in space and creates excitement.”
Real-life Example:
Audiences witnessing dancers of diverse body types, including curvier women and overlooked talents, appreciating exciting new aesthetics.
Visual Aid:
Photo montage illustrating body diversity and costuming evolution in Ballethnic performances.
Chapter 3: Technique and Identity—Form Meets Freedom
Summary:
Delves into the technical underpinnings of ballet juxtaposed with varied dance practices. Investigates how African and Black American traditions were blended with ballet to birth new movement dialects.
Subheadings:
Foundations: Pointes, Port de Bras, and the Myth of Purity
The Power of the Trunk: From Rigid Torsos to Undulating Freedom
Music, Rhythm, and Emotional Resonance
Technique as Accessible and Adaptive
Quotes:
“That has been really the crux of our work, is taking this body that’s trained in ballet and learning how to move it against both sides.”
Interactive Element:
Prompt: Watch a Ballethnic performance; journal how the use of trunk movement changes the experience of ballet for you.
Visual Suggestion:
Annotated movement diagrams comparing classical and Ballethnic choreography.
Chapter 4: The Community Stage—Centre of Belonging
Summary:
Explores dance’s capacity for community-building and healing. Highlights intergenerational involvement and the radical inclusivity of performances.
Subheadings:
Audiences Reflected on Stage
Tradition as Innovation: The Urban Nutcracker and Brown Sugar
Age, Disability, and Neurodiversity in the Dance Space
Celebrating Every Body in Motion
Quote:
“We create space for everybody. With Urban Nutcracker…they are older adults that like to dance in the community.”
Real-life Example:
Multi-generational productions featuring dancers from age 5 to 80+, and intentionally designed parts for older movers.
Visual Aid:
Chart showing generational participation and roles in Ballethnic productions.
Interactive Element:
Action Step: Seek out a local art or dance project that includes elders or people of differing abilities—how is the experience different?
Chapter 5: The Leopard’s Tail—Performance as Protest
Summary:
The making and meaning of “The Leopard’s Tail”. Uses this work as a case study in liberation, storytelling, and the power of cultural metaphor.
Subheadings:
Why the Leopard? Embodied Storytelling and Symbolism
Embodying Animalness: Technical Demands and Artistic Freedom
The Politics of Bodies Turning to the Audience
Shock, Celebration, and Cultural Critique
Quotes:
“Part of the attraction is moving your body, arching your body up like a cat…people literally were clutching their pearls.”
Visual Aid:
Stills or representations from “The Leopard’s Tail”, including costuming and movement sketches.
Interactive Element:
Reflection: Write about a time a work of art challenged your expectations. How did that discomfort aid your growth?
Chapter 6: Resistance, Barriers, and Building Legacy
Summary:
Unpacks the personal and institutional challenges of sustaining a Black-led ballet company, including racism, tokenism, underfunding, and stereotyping.
Subheadings:
The Cost of Persistence: Youth, Ageism, and Doubt
“We Don’t Need a Black Ballet Company”: Countering Gatekeeping
Tokenism and the Problem with “Diversity Months”
Personal Sacrifice and Community Philanthropy
Quotes:
“They would always call us when they wanted something for diversity only…why can’t you just call us because we do good work?”
Real-life Example:
Stories of being overlooked unless for Black History Month, and the economic/personal realities of building Ballethnic.
Interactive Element:
Exercise: List ways your own industry or community could move beyond diversity-as-tokenism to structural inclusion.
Chapter 7: Global Vision—Expanding Horizons
Summary:
Looks outward to the possibilities for global interconnection, cultural exchange, and sustaining the legacy for future generations.
Subheadings:
Passing the Baton: Succession and Mentorship
Travelling with Ballethnic: Collaborations and Teaching Abroad
Incorporating Other Indigenous and Marginalised Dance Forms
Towards a Universal Dance Language
Quote:
“When adults get bored or feel isolated, it’s because they lack things that stimulate…when you have things that excite you…it puts a certain energy in your body.”
Visual Aid:
Maps of Ballethnic collaborations and international workshops.
Interactive Element:
Prompt: Research a traditional movement or dance practice from another culture. What can you borrow or honour in your own creative work?
Chapter 8: Liberation Moves—The Personal as Political
Summary:
Offers reflective insights on dance and identity. Connects choices about hair, movement, and self-expression to broader acts of resistance.
Subheadings:
From Assimilation to Freedom: Hair, Style, and Selfhood
The Body as Site of Liberation
Joy and Vitality Through Enduring Movement
Legacy, Community, and the Future of Ballethnic
Quotes:
“One of the things…when we did that ballet Flyin’ West…I decided to liberate myself and I cut off my straight hair and just let my curls pop out.”
Visual Aid:
Portrait series: The “before” and “after” of assimilation and liberation for Black dancers.
Interactive Element:
Action Step: Write or draw your “liberation move”—an action that symbolises reclaiming your body, spirit, or identity.
Conclusion: The New Rhythm of Inclusion
Summary:
Recaps the necessity of re-centring the margins for the health and vibrancy of all arts communities. Ends with practical encouragement for readers to take the insights from Ballethnic’s legacy into their own creative or institutional endeavours.
Call to Action:
Reimagine space and legacy in your own life and community.
Support and participate in the movement for enduring, embodied inclusion.
Visit, witness, and share the art forms lighting a path to a more equitable world.
Supplementary Material
Resource list: Books, articles, and documentaries on inclusive dance, Black ballet history, and cultural activism.
Reflection prompts and journaling spaces.
Suggested imagery sourced from production archives (pending rights).
Diagrammatic representations of movement principles.
Feedback and Refinement Process
Circulate outline and chapter summaries to subject matter experts in dance, DEI, and cultural studies.
Solicit sample reader impressions via focus groups.
Revise outline for clarity, logical flow, and balance between memoir and manifesto.
Chapter Summaries
1. The Spark—Reimagining Ballet
Explores the origins of the creative impulse behind Ballethnic and the initial resistance to traditional ballet forms.
2. Breaking the Mould—The Practice of Difference
Examines how challenging ballet’s body politics and movement vocabularies opened space for authentic, joyful presence.
3. Technique and Identity—Form Meets Freedom
Analyses the practical blend of disparate dance styles and how new identities are forged through movement.
4. The Community Stage—Centre of Belonging
Highlights the transformative impact of radical inclusion on stage and in the audience.
5. The Leopard’s Tail—Performance as Protest
Focuses on a signature work that embodies the movement’s philosophy and serves as a means of artistic resistance.
6. Resistance, Barriers, and Building Legacy
Documents the perpetual struggle for equity, respect, and sustainability in an often hostile or indifferent arts ecology.
7. Global Vision—Expanding Horizons
Envisions a worldwide embracing of Ballethnic’s methods, values, and possibilities for mutual cultural growth.
8. Liberation Moves—The Personal as Political
Reflects on the importance of daily acts of resistance, liberation, and joy as routes to individual and collective well-being.
This outline provides a robust, reader-friendly pathway, distilling a wide-ranging, inspirational conversation into a book capable of shaping future dialogues about dance, identity, inclusion, and the creation of legacy.
Maxims to live by…
Maxims for Centring the Margins and Igniting Inclusion
Challenge tradition—transformation begins when you question established norms.
Hold space for voices and bodies once silenced; create possibility where none was offered.
Excellence is not limited by body type, background, or assigned identity.
Tradition is a foundation, not a cage; blend old forms with new expressions to keep culture alive.
The true measure of belonging is seeing yourself reflected on the stage and in the audience.
Make joy, expression, and authenticity central to all forms of art and participation.
Community thrives when every person can move, contribute, and be celebrated, regardless of age or ability.
Representation is essential—it isn’t a trend or a monthly token but a constant presence.
Lean into discomfort; growth emerges when you step outside the familiar and falter bravely.
Leadership is legacy—empower those who follow to continue and expand the vision.
Inclusivity means adapting teaching, performance, and space to diverse physical and neurodiverse needs.
The collective story is richer when told from many voices, backgrounds, and creative forms.
Financial and institutional equity must be pursued with the same passion as creative excellence.
Success is measured not solely by applause but by the transformation of lives, both on and off stage.
Let cultural pride and lived truth inform, rather than dilute, your contribution to the world.
Always celebrate what makes you and your community unique—your difference is your strength.
Stay curious and keep learning; lifelong stimulation is the antidote to stagnation and isolation.
Move your body, at every age and ability—wellbeing and creativity are lifelong pursuits.
When met with resistance, persist, adapt, and build bridges—innovation requires tenacity.
Leave a legacy that inspires others to redefine boundaries and ignite inclusion for generations to come.
Extended YouTube Description
Centering the Margins | Ballethnic Dance, Black Excellence, and Redefining Ballet | Inclusion Bites Podcast Ep.204
Join Joanne Lockwood and guest Nina Gilreith, co-founder of Ballethnic Dance Company, as they unveil how ballet is being radically transformed to centre Black excellence, community, and authentic cultural expression. Discover powerful conversations about diversity in the arts, body inclusivity, and strategies for building belonging and legacy in traditionally exclusionary spaces.
⏩ Timestamps for Easy Navigation
00:00 Introduction to Inclusion Bites & today’s episode
01:15 Meet Nina Gilreith: Story behind Ballethnic Dance Company
06:06 The meaning of ‘Ballethnic’: Ballet meets ethnicity
09:45 Challenging ballet stereotypes: Bodies, culture, and belonging
17:24 Melding classical technique and African dance: Methods & innovations
22:23 Audience reactions: Joy, controversy, and cultural relevance
28:10 Broadening participation: Disabilities, abilities, and lifelong dance
35:05 Wellness, movement, and community for all ages
40:05 Global influences, fusion, and Ballethnic’s impact
46:51 Overcoming barriers: Racism, funding, and arts equity
57:35 Future vision: Expansion, legacy, and next steps
01:04:23 Where to learn more & connect with Ballethnic
01:08:28 Closing thoughts from Joanne Lockwood
🎥 Episode Summary
This episode of the Inclusion Bites Podcast shines a spotlight on how ballet can evolve into a space for authentic representation, innovation, and joy when those at the margins are truly centred. Nina Gilreith shares the inspiring evolution of Ballethnic Dance Company, a pioneering force for Black dancers and those traditionally excluded from classical ballet.
Key topics include:
Redefining Ballet: How blending African dance forms with classical ballet breaks down historical and cultural barriers, making dance accessible and relevant to today’s communities.
Body Diversity & Inclusion: Nina Gilreith challenges the 'ideal' ballet body and demonstrates how all sizes, ages, and backgrounds are welcomed, celebrated, and empowered (10:26, 12:23).
Community Engagement: How Ballethnic's performances and teaching create intergenerational, multicultural spaces, leveraging dance as a tool for social mobility, wellness, and unity.
Creative Innovation: Learn how productions like Leopard Tale and the Urban Nutcracker mix tradition with innovation to build new stories and reflect lived realities (18:28, 28:28).
Barriers & Resilience: Insights into overcoming funding biases, societal prejudices, and the limitations of “diversity acts”—and moving towards being seen as integral to the arts (46:51).
Strategies for Expanding Inclusion: Practical guidance for arts administrators, HR professionals, educators, and D&I leaders on how artistic spaces can open doors for marginalised voices.
This conversation offers both practical takeaways—such as methods for inclusive arts engagement—and philosophical inspiration, ideal for anyone seeking to ignite change and nurture belonging in their field.
📈 Why Should You Watch?
If you're passionate about arts leadership, inclusive cultures, community building, or simply want to understand how the creative industries can challenge convention and inspire collective action, this episode is essential. Joanne Lockwood and Nina Gilreith offer strategies and insights you can apply in daily work—whether you lead teams, manage arts programmes, or seek personal growth through movement and culture.
👉 Get Involved!
Subscribe to Inclusion Bites for weekly updates on creating more inclusive cultures: Visit our podcast hub
Like and comment below: How do you see the arts playing a role in inclusion in your context?
Share this episode with fellow change-makers, dancers, educators, and advocates.
Connect with Ballethnic Dance Company and follow [Nina Gilreith] on Instagram: @ninaleopardess
🔗 Related Content
Watch our episode on Tackling Bias in the Creative Industries
Learn more about building inclusive communities with Joanne Lockwood
Hashtags to Maximise Your Reach
#InclusionBites #Ballethnic #BlackExcellence #DanceInclusion #DiversityInTheArts #JoanneLockwood #CulturalInnovation #ArtsLeadership #CommunityBuilding #UrbanNutcracker #AfricanDance #BodyPositivity #Belonging #ChallengingTheNorms #SocietalChange #PodcastsUK #SEEChangeHappen
Transform your view of dance, challenge the mainstream—and help shape a future where everyone belongs both on and off the stage.
Substack Post
Reimagining the Centre: Why Belonging Starts at the Margins
Have you ever wondered why so many diversity and inclusion strategies falter at the same old hurdle—struggling to truly reach, empower, and celebrate those on the margins? Despite decades of “best practice” and endless commitment statements, entire communities often remain left out in the cold, gazing through the window at a table they did not set and were never invited to.
This question sits at the heart of this week’s episode of the Inclusion Bites Podcast, “Centering the Margins”. In this soul-stirring conversation, I’m joined by the visionary Nina Gilreith, co-founder of Ballethnic Dance Company. Over three decades, Nina has been shaking the foundations of ballet—embedding Black excellence, belonging, and cultural truth into an art form that, for generations, shut out dancers who did not fit its narrow mould.
Pull up a chair, adjust your earbuds, and join us for a courageous look at what it means to create space, visibility, and legacy where none existed before.
A Tapestry Woven from the Unseen Threads
Why is the stage often reserved for the “usual suspects”? In this conversation, we unpick the cultural assumptions that throttle classical arts—and, metaphorically, our workplaces. Nina Gilreith shares how she and her husband, Waverly, took their lived experience as Black ballet dancers in Atlanta and challenged a monolithic tradition by founding Ballethnic—a portmanteau born from “ballet” and “ethnic.”
We trace their story from “standing and posing on the side lines,” overlooked and undervalued, to centre stage pioneers blending classical ballet with African and social dance. The parallels with corporate life are inescapable: it’s not enough to be present—you must be seen as worthy of taking up space.
Our focus is on what organisations—and those of us who lead them—can learn from this radical act of recentering the margins, from reimagining talent pipelines to challenging aesthetic and physical “norms.”
Why Every HR Leader Needs to Hear This
For HR professionals, DE&I champions, Talent and Recruitment leads, and the Organisational or L&D sphere, this episode is a masterclass in what “inclusive practice” really means beyond the policies. If you are serious about systemic change, “Centering the Margins” offers a practical blueprint, shaped through the lens of the ballet world but utterly relevant to any setting where you seek to nurture belonging and embrace difference.
Alongside Nina Gilreith’s wisdom, we’re reminded that lived experience remains our richest source for innovation and resilience, particularly when it comes to dismantling tired, exclusionary traditions.
Lessons from a Stage Rebuilt
What concrete takeaways can we draw into our own spaces, boardrooms, and teams? Here are my standout lessons from this powerful episode:
Redefine Who Belongs at Centre Stage
Too often, we recruit, promote, and design for a mythic “ideal”—in Nina Gilreith’s context, the petite, “prim and proper” ballet dancer. She asks a vital question: Who decided what a ballet body is, and why must we keep to old scripts? Recruit and develop for lived potential and aspiration—not legacy checklists. When we broaden our definition of excellence, we unearth talent in unexpected places.
Make Participation Possible for All Bodies
Inclusion is meaningless if it does not create space for diverse abilities, ages, and body types. Ballethnic’s productions do just that—featuring dancers from five to over eighty, including those rarely welcome on the traditional stage. In your workplace, examine the “hidden rules” that keep people out. Challenge the unspoken assumptions about who is “ready” or “suitable,” whether that relates to appearance, ability, education, or background.
Celebrate Authenticity, Don’t Just Tolerate It
Instead of assimilation, Ballethnic leans into cultural specificity—integrating elements of African dance, jazz, and R&B, and even reimagining iconic works like The Nutcracker for Atlanta’s community. What traditions, music, or rituals in your teams and organisations feel forced or performative? How might you make space for different cultural expressions in meetings, celebrations, or talent development?
Invite the Audience In—Redraw the Circle
As leaders, we rarely consider whether our “audience”—our workforce, our customers—see themselves reflected in our work. Nina Gilreith describes the emotional power of parents, elders, and communities coming together for productions that finally look and sound like them. Inviting participation creates belonging and sparks lasting engagement—workplaces must do the same. How are you welcoming all voices into the room, not just those “authorised” to speak?
Resist the One-Month-Wonder Syndrome
Ballethnic’s struggle to be recognised outside “Black History Month” mirrors the tokenistic invitations many minoritised professionals receive. If you only seek out marginalised voices for “diversity days,” what message are you sending about value and inclusion? Embed diverse perspectives throughout all your planning, problem-solving, and celebrations.
See the Vision in Motion
Words can only go so far; sometimes, the body speaks best. To whet your appetite, I invite you to watch this one-minute audiogram—a window into the energy, joy, and radical disruption Ballethnic brings to the classic Nutcracker and beyond. In this snippet, you’ll see why changing who gets to dance changes everything about the audience, too.
Click below to watch the highlight that encapsulates our episode’s spirit—then ask yourself: What might our workplaces gain from this kind of creative reimagining?
Watch the episode highlight - 1 min Audiogram
The Full Conversation: Listen & Share
Feeling inspired? There’s so much more—laughter, vulnerability, and wisdom—where that came from. This episode is more than an exploration of dance; it’s a roadmap for challenging norms and rewriting what “inclusion” means in real terms.
🎧 Listen to the full episode here and consider sharing it with your HR teams, L&D circles, and networks. Let’s stretch the conversation further—to every corner of our organisations that needs to hear it.
If this episode resonates, pass it on to someone who still believes “the way things have always been done” is the best we can do.
What If We Danced to a New Beat?
Let me leave you with this: What could change in your organisation if the margins weren’t merely “included” but brought to centre stage—if you reimagined not just who gets a seat at the table, but who actually decides the menu and writes the music?
I challenge you to look around your workplace and ask: Are we truly making belonging possible for everyone, or merely expecting others to fit a mould that was never made with them in mind?
Stay curious, courageous, and kind.
Until next time,
Joanne Lockwood
Host of the Inclusion Bites Podcast
The Inclusive Culture Expert at SEE Change Happen
Let’s continue the conversation—connect with me and explore more ways to ignite inclusion:
YouTube – Episode highlights and more
TikTok – Bite-sized perspectives
LinkedIn – Regular insights and discussions
seechangehappen.co.uk – Blogs, articles, and more resources
Together, we can build spaces where everyone is free to flourish—no more watching from the sidelines. How will you help lead the dance?
1st Person Narrative Content
When the Margins Move to Centre Stage
“Why shouldn’t joy, freedom, and cultural truth claim a space in an art form long presumed reserved for an elite few?” That’s the question that echoes in my bones before every show, every rehearsal, and every conversation about the legacy and future of dance—and, perhaps more importantly, belonging. I’ve spent decades remoulding what ballet means—not just to me, but to my community—in defiance of every declared ‘should’, ‘must’, and ‘impossible’. This journey is not just about movement on stage; it’s about shifting what, and whom, we centre when we tell our stories.
Context: The Unyielding Power of Space and Legacy
When I’m approached to talk about Ballethnic and our origins, the conversation is rarely just about choreography or aesthetics. It’s a deeper reckoning with habit, history, and who holds the pen when narratives are written and performed. For me, dance has always been a political act—a form of living archive, rebellion, and healing that speaks in ripples through time.
This matters personally because, for much of my career, I was the dancer standing on the edge—literally and figuratively—witness to the sharp relief between the centre and margins in ballet’s world. I wanted to know: what is possible when the footlights follow those never meant to lead? My life’s work now is to ensure that question is never rhetorical—and that the answers generate space, legacy, and possibility for those once relegated to the wings.
Recently, Joanne Lockwood of the Inclusion Bites Podcast hosted me for a conversation that was as textured, candid, and challenging as my thirty years building Ballethnic. Joanne Lockwood is no stranger to difficult conversations; as the founder of SEE Change Happen, she’s globally recognised for championing inclusive cultures and igniting organisational transformation. Her approach is probing, compassionate, and uncompromising—qualities essential when the topic is ripping up old blueprints for a fairer, richer creative landscape.
More than [INSERT_VIEW_COUNT] people have already watched our interview on YouTube, with many more tuning in via Spotify and Apple Podcasts.
If this conversation sparks something for you—questions, pushback, or agreement—I’d love to hear your thoughts in the comments below. I read every one.
Shattering the Pliés and Myths: Where Ballethnic Was Born
Ballethnic is not simply a fusion of ballet and ethnic dance; it is an act of invention where tradition’s boundaries are purposefully transgressed. Classical ballet—my first discipline—taught me rigor, system, and the power of collective discipline. It also taught me, early, what it feels like to be excluded not just by accident, but by design.
“Traditional ballet is very white, very colonial, kind of old school European,” Joanne Lockwood pointed out with characteristic directness. She wasn’t wrong. The stages of the 1980s and 90s, in Atlanta and far beyond, were constructed for a certain aesthetic, body, and narrative—a swan’s neck and a rigidly corseted world where arms and legs elongated endlessly but the story almost never did.
What sparked Ballethnic was boredom—but of the revolutionary kind. My late teens were spent standing at the sides, waiting for a turn that moved only in proscribed lines. Repetition is its own tyranny: “Once you get to that level of knowledge and proficiency, what’s next?” My answer: blow up the mould. Why couldn’t we blend the structure I loved—the replicable, buildable system of ballet—with the movement, joy, and polyrhythm of African dance and R&B?
It didn’t stop at movement. Joanne Lockwood observed, “What defines a ballet body?” For us, it became abundantly clear: a ballet body is any body that can carry, move, and inhabit the rhythm and story. We defied every prescriptive norm—size, phenotype, cultural background—placing all bodies on stage, visible, stirring, and unapologetically present. The result? Sometimes resistance (from critics, from inside the community, even from ourselves), but more often awe and recognition. Dancers and audiences alike could finally see themselves—booty, boobs, hips, and all—in a tradition that was once hermetically sealed.
Choreographing Joy, Power, and the Full Range of Humanity
What happens when you introduce R&B and soul to rigid five positions? When you let a dancer’s shoulders undulate and their torso ripple like water atop pointe shoes? You don’t just change physical expression; you liberate spirits.
There’s a reason why people would gasp as we arched, turned our backs to the audience, and presented bodies full of life and curve. “Part of the attraction is moving your body, arching your body up like a cat,” I shared, describing our signature ballet, The Leopard Tale. For some, this provoked horror; for others, jubilation.
Joanne Lockwood and I had great fun exploring how these stylistic differences reflected larger cultural truths: “Ballet is often expressionless, very straight faced… I’m guessing you’re really living that in your facial expressions as well?” Absolutely. When joy is the motive force, it must show in the eyes, the smile, the very fibre of the body. Traditionalists often found this destabilising; they’d been trained, consciously or not, to check emotion at the door. But for our community, the exuberance and immersion were revolutionary.
What many missed is that this liberation wasn’t just for show—it was a pathway to inclusion. We crafted ballets where audience members, regardless of their previous relationship to dance, not only saw themselves but felt compelled to move. One of my deepest rewards has been watching generations of families attend our productions, seeing not only dancers who look like them but stories and soundtracks that resonate on a cellular level.
Inclusion Beyond the Narrative: Who Gets to Move, and Why
Inclusion isn’t an abstract—nor a tickbox. It is a muscle, exercised and trained. We’ve had dancers of every hue, nationality, and ability grace our stage. Our ballets aren’t just a mirror to the city’s Black community; they’re open to every person previously told “no”. As Joanne Lockwood shrewdly asked, “Has it had an impact in allowing people with physical disabilities, with maybe learning disabilities, such as Down syndrome, other people able to take part in their own way?”
It absolutely has. We’ve welcomed neurodivergent dancers, and young people whose challenges led some studios to close their doors, weaving new pedagogy to ensure their artistry is nurtured, not sidelined. Inclusion, done properly, requires instructors to grow, to unlearn and remake—always in service of the larger, more complex community body.
Our oldest performers are in their eighties; our youngest barely out of nursery. Movement endures. My own mentor, Moselle Spriggs, is nearing 100 and still an advocate for dance as sustenance—for body, mind, and spirit. To move is to resist the isolations of ageing, the constraints of expectation; every rehearsal is protest and celebration.
Dance, like community, asks not that you be perfect—but present.
Storytelling as Reclamation: New Narratives, New Audiences
Much of what we do is grounded in the creation of original narratives—ballets that don’t merely restage Swan Lake but invent The Leopard Tale, the Urban Nutcracker, Jazzy Sleeping Beauty, and more. It’s not enough to diversify the cast; the canon itself must be uprooted, rewritten.
With the Urban Nutcracker, for instance, we reimagine the tale on Atlanta’s Sweet Auburn Avenue—and centre characters like Brown Sugar (because why settle for Sugar Plum Fairy when you can have “the sweetest sugar of all”?) and Big Mama, who narrates the story and welcomes newcomers. This is not mere window-dressing for diversity, but a full-throated reclamation of whose stories get staged, and whose traditions are worthy of celebration.
Joanne Lockwood captured the difference: “You’re almost leading the entertainment, but the audience becomes part of that whole movement.” That’s the aspiration—a production so immersive that watcher and watched blur, and inclusion is practised rather than performed.
But I cannot romanticise the labour. Thirty-five years in, the obstacles are as real as ever: “People will always give my… Waverly the cheque. But I’m the one who took care of the money.” Misogyny, racism, the glass cliffs of arts funding—barriers abound. I’ve seen audiences, boards, and sponsors treat our work as worthy only on ‘diversity days’, only as a special act, never as the base note.
Which is why we work to make ourselves indispensable—to broaden our audience, partner globally, and embed our practices in cross-cultural contexts, from Amsterdam to Tanzania to Canada. The message is insistent: this is not a side-show, and inclusion is not for one month a year.
Sustaining Legacy: Building Space, Funding Freedom, Succession
My driving question now is not “how do we survive?” but “how do we hand over a thriving institution?” Legacy is about more than archiving old costumes or digitising VHS tapes. It’s the power to own our buildings (we do), to shape our neighbourhood (Ballethnic Way, no less), and to see our alumni step into leadership and creative roles.
We are on the cusp of global partnerships—expanding our approach to embrace the indigenous, Pacific, and Maori traditions. The more I learn, the more I see possibilities—in the polyrhythm of African drums, the storytelling of First Nations, the groundedness and lift combined.
But sustaining this legacy demands funding commensurate with our ambition. We want the next generation to inherit more than ‘resilience’; they deserve tools, support, and respect. And I intend, as I pass the baton, to make sure they’re equipped for the centre, not the edges.
Rooted in Freedom, Dancing Towards Joy
If I’ve learnt anything, it’s this: the centre is not a place; it’s a practice. The culture of belonging we’ve fostered isn’t happenstance. It’s crafted every day—by expanding the narrative, by naming and dismantling exclusion, by celebrating the liberation of form and spirit. “You’re hitting on so many points…” Joanne Lockwood remarked, noting that for us, storytelling is about surfacing the truth in each dancer and audience member, whatever their origin.
We’ve lived—sometimes paid a steep price for—the belief that everyone, regardless of shape, age, or ability, can participate and create. “Why shouldn’t we imagine ballet with rhythm, hips, joy—and bold, black hair let free?” I asked myself, not rhetorically, before my curls were liberated from decades of salon straightening. If you want to know how radical inclusion feels, look for the stage where dancers’ hair, bodies, and voices are finally allowed their full amplitude.
This is how we keep moving the margins ever closer to the centre. This is how the future is made—in music, in motion, and above all, in belonging.
Song Lyrics from Episode
[Title
Centering the Margins]
[Synopsis
Episode 204 — Inspired by “Centering the Margins,” this lyric charts the journey of breaking ballet’s moulds and reclaiming joy for every body, culture, and age. Rooted in Nina Gilreith’s pioneering vision with Ballethnic, it finds power in vulnerability, community, and defiant self-expression. Set to a warm, driving indie pop groove, it’s a song about dancing whole — and making space for everyone to move.]
[Vibe
Acoustic guitar and subtle piano set a contemplative verse, with spacious pads and muted percussion building energy. The pre-chorus adds harmonies, inviting subtle strings. Chorus lands punchy, melodic, and bright, with layered vocals and steady drums. Bridge strips back to guitar/pad, gentle harmonies and open emotion, then builds into a fuller, anthemic final chorus. Fade out lingers on fingerpicked guitar and atmospheric synth, voices trailing with hope.]
Lyrics
[Verse 1]
These halls were built for symmetry,
Straight spines, tight smiles, all clean lines.
But in the corner, hips are humming —
Movements rising that won’t align.
We learned how to blend in,
But this soul won’t play small;
Pressed petals, held breath,
We cracked open the frame on the wall.
[Instrumental break: soft guitar, atmospheric pads]
[Verse 2]
It wasn’t only mine to carry,
History’s hand shaping body and sound.
But I’m more than someone’s notion
Of how a dancer should move around.
Ballet bodies? — I see full thunder,
Shapes untameable, fierce and free.
Watch the curtain lift on every colour,
Watch us breathe new life into legacy.
[Pre-Chorus]
Who gets to write the grace notes,
Dress joy in one design?
I’m done with shrinking in the wings —
This is our opening line.
[Chorus]
We’ll centre the margins,
Let every story dance.
Feet on ground, arms to sky,
No more asking for a chance.
If you feel out of place,
This rhythm’s yours to claim —
Centre the margins
And let them say our names.
[Instrumental: gentle drums join, subtle bass, layered harmonies]
[Verse 3]
Old world said “one company only”,
Tradition counting who’ll belong.
But we move for more than legacy —
We build where we’ve been shut out too long.
Children, elders, all invited —
Every leap, every line we bend,
We gather in the circle,
And let the dance begin again.
[Bridge]
Wasn’t made to blend in quietly,
Never meant to bow for show.
We spin, we shake, we laugh too loudly —
Blooming wild where we grow.
[Final Chorus (Lifted & Layered)]
So centre the margins,
Raise every hidden voice.
The ones who got called “too much”,
The ones who made different noise.
If you’re searching for your place,
You will find it when you move —
Centre the margins now,
We’re rising, breaking through.
[Instrumental fade out: acoustic guitar arpeggios, vocal echoes (“centre the margins…”), synths shimmering, soft percussion melting away.]
[Artistic direction
Keep the vocal performance intimate but proud, foregrounding truth and vulnerability. The chorus should be inviting and anthemic. Production honours the acoustic roots but adds lift as the song progresses. The bridge is honest, slightly raw, before building to the highest emotional point in the final chorus. Let the fade remind listeners that this is an ongoing movement — a gentle call to belong, always.]
Gemini Infographic Material
In the Inclusion Bites podcast episode "Centering the Margins," Nina Gilreith, co-founder of Ballethnic, reveals how blending ballet with African and ethnic dance creates a platform for Black excellence, new narratives, and authentic belonging. Instead of replicating Western ballet’s rigid standards, Ballethnic celebrates diverse bodies, stories, and cultural truths.
Here, "centering the margins" means challenging exclusion, redefining norms, and building systems where marginalised people can thrive in the arts.
1. The Problem: Exclusion as Status Quo
Traditional ballet is:
Rooted in eurocentrism and elitism
Narrow in its physical and aesthetic standards—restricting body type, movement, and who gets to participate
Exclusionary in practice: communities of colour often see little representation or cultural relevance in mainstream ballet
2. The Ballethnic Model: Integration & Innovation
[Key Concept]: Centre the Margins
Intentional blending: Merge classical ballet technique with African/ethnic dance forms. Create a new genre showcasing the beauty and power of Black identities.
Accessible stories: Performances reflect lived experiences of Black and multicultural communities. Example: "The Leopard Tale" and "Urban Nutcracker" reinterpret canonical works with African American culture.
Body diversity: All sizes, shapes, and ages are championed on stage—disrupting the myth of the "ballet body."
Expressive freedom: Use of full-body movement, live drumming, facial expression, and joyful undulation enhances audience connection.
3. Inclusion in Practice: A Holistic Model
Community participation: Ballethnic includes people from age 5 to 80+, participants with disabilities, and older dancers—viewing dance as lifelong, accessible, and health-promoting.
Breaking silos: Not limited to Black performers—talented dancers from any background, including Korean, Thai, and others, are included if they embody the style.
Audience expansion: By making content meaningful to local cultures, Ballethnic broadens and diversifies the ballet audience, building intergenerational traditions.
4. Barriers & Systemic Challenges
Initial scepticism over youth and resilience
Resistance from established institutions—persistence of gatekeeping, funding inequity, stereotyping, and tokenism ("We want you for Black History Month, not year-round.")
Business acumen and leadership bias—gendered assumptions about who handles finances and direction
5. Lessons in Legacy: Impact & Sustainability
Succession: Training younger generations in leadership to sustain the movement
Archiving: Preserving community stories for history and global reach
Transference: The model is being shared internationally and could expand to include new cultural blends (Pacific Island, Aboriginal, etc.)
Summary Table: Inclusion through Ballethnic
Key Takeaway: Inclusion is an intentional re-centring of the arts—where aesthetics, power, and participation shift from the margins to the heart of the field. Belonging and authentic expression are fostered when we disrupt outdated norms and create space for all to thrive.
Hubspot Import format
204,Centering the Margins,,,,,,,,Joanne Lockwood,Nina Gilreith,"Discover how Ballethnic’s unique fusion of classical ballet and African dance challenges elitism and reimagines inclusion for all bodies and communities.","In this episode, Joanne Lockwood talks with Nina Gilreith, co-founder of the Ballethnic Dance Company, which has spent over three decades reshaping the landscape of ballet by centring Black excellence, belonging, and cultural authenticity. Nina reflects on her journey from traditional classical ballet, confronting rigid norms and exclusionary practices, to creating a space where dancers of all backgrounds, sizes, abilities, and ages are not only welcomed but celebrated.
Listeners will learn about the origins of Ballethnic’s distinctive style, blending classical ballet technique with African and other culturally grounded movement, music, and storytelling, transforming both the performances and the audiences engaged. Nina shares powerful narratives of community-building, legacy creation, and challenging stereotypes within the arts world, highlighting the refusal to be relegated to ‘diversity’ corners and instead demanding equal recognition and resources.
The discussion delves into the importance of liberating both body and spirit, resisting limitations around identity, and fostering intergenerational participation and audience immersion. Practical barriers, such as lack of funding and societal prejudice, are explored alongside the persistent strategies Ballethnic uses to create enduring institutional and cultural change.
Ultimately, the episode offers an inspiring look at dance as a vehicle for social transformation, wellbeing, and lasting inclusion.",,,,,Lived Experience & Identity,"Belonging,Authenticity,Change & Transformation,Community & Connection,Resilience","Race & Ethnicity,Disability & Access",Lived Experience Stories,"E204 – Centering the Margins",,"'E204 – Centering the Margins | Discover how Ballethnic’s unique fusion of classical ballet and African dance challenges elitism and reimagines inclusion for all bodies and communities. | In this episode, Joanne Lockwood talks with Nina Gilreith, co-founder of the Ballethnic Dance Company, which has spent over three decades reshaping the landscape of ballet by centring Black excellence, belonging, and cultural authenticity. Nina reflects on her journey from traditional classical ballet, confronting rigid norms and exclusionary practices, to creating a space where dancers of all backgrounds, sizes, abilities, and ages are not only welcomed but celebrated.
Listeners will learn about the origins of Ballethnic’s distinctive style, blending classical ballet technique with African and other culturally grounded movement, music, and storytelling, transforming both the performances and the audiences engaged. Nina shares powerful narratives of community-building, legacy creation, and challenging stereotypes within the arts world, highlighting the refusal to be relegated to ‘diversity’ corners and instead demanding equal recognition and resources.
The discussion delves into the importance of liberating both body and spirit, resisting limitations around identity, and fostering intergenerational participation and audience immersion. Practical barriers, such as lack of funding and societal prejudice, are explored alongside the persistent strategies Ballethnic uses to create enduring institutional and cultural change.
Ultimately, the episode offers an inspiring look at dance as a vehicle for social transformation, wellbeing, and lasting inclusion.'",
💡 Speaker bios
Joanne Lockwood is the insightful host of "Inclusion Bites," a podcast dedicated to sparking meaningful conversations around inclusion, belonging, and social change. Passionate about creating a world where everyone not only fits in but truly thrives, Joanne invites listeners to join her in exploring compelling stories, challenging the status quo, and uncovering what lies beneath the surface of our everyday lives. Whether connecting with audiences over a cup of coffee or encouraging reflection at the close of a long day, Joanne champions the power of dialogue to inspire action and transformation. She welcomes others to be part of the conversation, believing that together, we can shape a more inclusive society.
💡 Speaker bios
Nina Gilreith, a distinguished classical ballet dancer, began her career in the late 1980s performing with her husband at the Atlanta Ballet. Renowned for their interpretations of masterpieces such as Swan Lake and Giselle, Nina soon found herself yearning for greater expression beyond the traditional roles. As a corps de ballet member, she noticed the abundance of standing and posing required during performances. This sense of limitation sparked creativity between Nina and her husband, inspiring them to experiment with classical poses by incorporating innovative movements and isolations of the body, shoulders, and hips. Nina's journey reflects both her deep respect for the ballet tradition and her passion for pushing its boundaries.
💡 Speaker bios
Nena Gilreath is a trailblazer in the world of dance, best known as one of the co-founders of the Bath Ethnic Balletthnik. With over thirty years of dedication, Nena has played a pivotal role in transforming ballet, ensuring black excellence and authentic cultural expression are not just included but celebrated at the centre of the art form. Her unwavering commitment lies in creating space, legacy and new opportunities for black dancers, forging paths where previously none existed. Nena's superpower is, in her own words, “holding the line"—championing belonging and inspiring future generations through her visionary leadership.
💡 Speaker bios
Joanne Lockwood is the visionary host of Inclusion Bites, a podcast dedicated to igniting transformative conversations around inclusion, belonging, and societal change. As a passionate advocate, Joanne guides listeners on a journey to challenge the status quo and discover what it truly means to build a world where everyone not only belongs, but thrives. With a talent for uncovering powerful stories and fostering reflection, Joanne invites her audience to connect, participate, and inspire action—reminding us all that we’re never alone in the pursuit of a more inclusive society. If you have insights to share or wish to join the conversation, Joanne warmly welcomes you to reach out and be part of the show.
💡 Speaker bios
Nina Gilreith is a seasoned ballet dancer whose journey began in the late 1980s, performing with her husband at the Atlanta Ballet. Specialising in classical masterpieces such as Swan Lake and Giselle, Nina reached a level of artistry where she often found herself in the corps de ballet, observing and waiting for her next moment on stage. In these intervals, she and her husband playfully experimented with the traditional poses, introducing unique movements that isolated different parts of the body. This creative exploration became a hallmark of her approach, blending classical technique with innovative flair.
💡 Speaker bios
Joanne Lockwood is the voice behind Inclusion Bites, a podcast dedicated to bold conversations that inspire societal transformation. As host and guide, Joanne invites listeners on a reflective journey into the heart of inclusion and belonging, challenging the status quo and amplifying stories that foster connection and change. With warmth and authenticity, she encourages everyone to not only find their place, but to truly thrive. Whether sharing powerful narratives or welcoming guests to join the dialogue, Joanne’s mission is clear: to spark change and create a world where everyone feels they belong. To join the conversation or share insights, listeners are invited to reach out to Joanne at jo.lockwood@seechangehappen.co.uk.
💡 Speaker bios
Nina Gilreith is a seasoned ballet dancer whose artistic journey began in the late 1980s, performing classics such as Swan Lake and Giselle at the Atlanta Ballet alongside her husband. As she mastered the traditional repertory, Nina noticed that much of a classical dancer’s life involved waiting in the wings and perfecting poised, elegant poses. Never content to simply stand still, she began experimenting with new forms—isolating body parts, playing with movement in her shoulders and hips, and infusing the classical with her own expressive flair. This spirit of innovation in dance reflects Nina’s creative approach to both ballet and life.
💡 Speaker bios
Joanne Lockwood is the founder and host of Inclusion Bites, a podcast dedicated to sparking conversations that drive meaningful change around inclusion, belonging, and societal transformation. As your guide, Joanne invites listeners to journey with her into the heart of what it truly takes to create a world where everyone not only belongs, but thrives. Through bold discussion and storytelling, she challenges the status quo and uncovers unseen perspectives, fostering deep connection and encouraging action. Whether you’re starting your day or reflecting in the evening, Joanne brings people together to connect, inspire, and share their own insights. She welcomes listeners to reach out and join the ongoing conversation at jo.lockwood@seechangehappen.co.uk, making everyone part of the movement towards a more inclusive society.
💡 Speaker bios
Nena Gilreath is a renowned dancer whose journey began in the late 1980s at the Atlanta Ballet, where she performed with her husband in timeless works such as Swan Lake and Giselle. Immersed in the world of classical ballet, Nena reached a proficiency where, unless taking the lead, much time was spent standing in pose during performances. Finding inspiration in these moments, she and her husband began to experiment, adding new movements and isolations to traditional positions. This creative curiosity not only enriched their own artistry, but also laid the foundation for their later innovations in dance.
Episode Summary with Intro, Key Points and a Takeaway
In this episode of The Inclusion Bites Podcast, Joanne Lockwood shines a light on what it truly means to centre the margins in the world of dance. Joined by Nena Gilreath, co-founder of Ballethnic, the pair embark on a vivid exploration of reshaping ballet by fusing classical traditions with African and diasporic dance forms. The conversation deepens into how this approach challenges stereotypical notions of ballet, making it culturally relevant, radically inclusive, and electrifying in its expression. Joanne reflects on her own perceptions of ballet as an outsider, prompting Nena to detail how joy, improvisation and bodily authenticity break open the art form for performers and audiences alike.
Nena is a trailblazer in American ballet and has spent over three decades holding space for Black dancers and nurturing a ballet company built on Black excellence and truthful cultural representation. Together with her husband, Nena founded Ballethnic in Atlanta and has remained committed to breaking barriers—making ballet accessible to people of all body types, abilities, and backgrounds. Her legacy includes not only innovative choreography blending ballet with West African dance but also the founding of beloved traditions such as the Urban Nutcracker, which reimagines classic works through a culturally resonant lens. Nena’s ethos centres on authenticity, legacy, and the conviction that every body deserves to belong on stage.
Joanne and Nena examine the transformation when rigid traditions are expanded to include expressive movements, communal spirit, and storytelling that resonates with diverse audiences. The discussion unearths the practical challenges of founding and sustaining an inclusive ballet company, from funding to societal scepticism, while also celebrating the rewards of intergenerational community engagement and global collaboration.
Listeners will take away a fresh understanding of how art can disrupt the status quo, create true belonging, and spark joy when all identities are centred. This episode offers a bold call to witness and support those challenging the norms that dictate who gets to be seen, heard and celebrated. Tune in to be inspired by a vision of an art form where inclusion is not an afterthought—but the beating heart of creativity.
About this Episode
About The Episode:
In this conversation, Nena Gilreath explores the genesis and evolution of ballet that centres black excellence, reimagining tradition through intentional cultural blending. Her insight into decolonising dance, broadening participation, and empowering communities is at the heart of this episode. Listeners are invited to consider how purposeful disruption can enable true belonging and foster creative expression for all.
Today, we'll cover:
The transformation of classical ballet by integrating African dance styles, challenging elitist traditions and broadening cultural relevance.
The necessity of representation, inclusive of all body types and backgrounds, to shift who gets space and visibility in traditionally exclusive art forms.
The ten-year path to proficiency in ballet and the significance of physical evolution, resilience, and adaptability in dance.
The choreography of immersive experiences that draw audiences into the rhythm and expression, breaking the barrier between performers and spectators.
Creating community through dance—encouraging participation from ages five to eighty and fostering well-being and social connection across generations.
Persistent challenges faced in dismantling systemic biases based on race, gender, and body image, and practical strategies to overcome them.
Succession planning, global expansion, and the preservation of creative legacy through intentional archiving and intergenerational leadership.
❇️ Key topics and bullets
Comprehensive Sequence of Topics
1. Introduction to Inclusion Bites and Guest
Purpose and ethos of Inclusion Bites Podcast
Joanne Lockwood's invitation to listeners for participation
Introduction of episode – "Centering the Margins"
Welcome and background of Nena Gilreath, co-founder of Ballethnic
2. Location and Setting
Nena Gilreath's current location in Athens, Georgia
Weather comparisons between Georgia and the UK
Commute between Athens and Atlanta
Commentary on American freeway infrastructure
3. Origins of Ballethnic
Explanation and pronunciation of "Ballethnic"
Fusion of "ballet" and "ethnic"—rationale behind the company name
Frustration with lack of representation in traditional ballet
Inspiration and motivation for forming Ballethnic
Role of classical ballet traditions (Swan Lake, Giselle) in sparking innovation
4. Cultural and Structural Barriers in Ballet
Eurocentric, colonial roots of traditional ballet
Rigid expectations around body types and aesthetics
Nena Gilreath's personal experience not fitting traditional norms
Importance of authenticity and rejecting assimilation
5. Innovation in Dance: The Ballethnic Approach
Blend of structured ballet and African dance forms
Inclusion of R&B, soul, polyrhythms, and undulation in choreography
Accessibility and body positivity: all sizes, all backgrounds included
Changing audience perception: from "I hate ballet" to "I like this ballet"
Incorporation of dancers from broader ethnic backgrounds (e.g., Korean, Thai)
6. Technicalities: What Defines Ballet?
Ballet’s historical development from royal courts
Codified movements, costuming, port de bras, and progression to dancing sur la pointe
Physical demands and timeline to proficiency
The effects of ageing and puberty on dancer development
7. Practical Choreography: Blending Ballet and Ethnic Dance
Contrasts between rigid ballet posture and fluid ethnic movement
Techniques for combining pointe work with torso articulation and hip movements
Example: "The Leopard Tail"—narrative, expressiveness, costumes, and physicality
8. Audience Experience and Reception
Immersive and expressive nature of Ballethnic performances
Emotional reactions: joy, liberation, surprise at body positivity
Community engagement and the creation of space for different demographics
9. Community, Legacy, and Generational Inclusion
Multi-generational participation (ages 5 to 80+)
Creation of roles and traditions for elders within performances
Health, wellbeing, and social connection through continual movement and involvement
10. Representation, Access, and Wider Inclusivity
Welcoming participants with disabilities and neurodivergence
Adaptation of teaching styles and choreography to diverse abilities
Rhythmic engagement as a uniting principle for all ages and bodies
11. Global and Artistic Expansion
International collaborations (Tanzania, Amsterdam, Canada)
Cross-cultural inspiration from First Nations, Maori, and Pacific Islander traditions
Vision for a global platform for Ballethnic's dance form and archives
12. Institutional Barriers, Funding, and Societal Challenges
Doubts, dismissals, and prejudice within the arts community
Intersectional challenges based on age, gender, race, and authenticity
Difficulties in securing funding and being seen beyond token diversity roles
The politics of inclusion – not just being booked for Black History Month
13. Breaking the Mould: Contemporary and Culturally Relevant Storytelling
Expansion beyond traditional ballet canon
Utilisation of contemporary music, new narratives (e.g. "Flying West")
Incorporating history, migration, and broader community representation
Creating performances that engage, educate, and resonate deeply
14. Succession, Sustainability, and Looking Forward
Succession planning and passing leadership to the next generation
Campus expansion and enhanced archiving efforts
Commitment to making the form sustainable, relevant, and inclusive for the future
15. Personal Liberation, Identity, and Expression
The symbolism of natural hair and body expression versus assimilationist standards
The relationship between dance, authenticity, and personal freedom
16. Closing, Contact, and Further Engagement
Ways to connect with Ballethnic (website, Instagram, YouTube)
Encouragement for further exploration and involvement
Reflection on the importance of lifelong curiosity, learning, and inclusion
Blog article based on the episode
Centering the Margins: The Radical Power of Reimagined Ballet
What do you imagine when you hear the word “ballet”? Is it a world of Swan Lake perfection—stick-thin bodies, poised elegance, and rigid white tutus? Or could it be something entirely different: the undulation of hips, vibrant curls bouncing, faces alive with joy, and a stage filled with a full spectrum of ethnicity, body shapes, and boundless possibility? This is the world redefined by Nena Gilreath, co-founder of Ballethnic and the inspirational voice behind this episode’s Inclusion Bites Podcast, "Centering the Margins."
Breaking Ballet's Exclusionary Mould
For generations, ballet has epitomised a Eurocentric standard of beauty and discipline—an art form that, despite its technical brilliance, unashamedly centres whiteness, elitism, and physical conformity. As Joanne Lockwood so deftly recognises, traditional ballet’s formality comes laced with the unspoken message: “You belong only if you fit.” For many aspiring dancers, especially those from Black and minoritised backgrounds, or those whose bodies exist outside the accepted archetypes, ballet is a closed room with the door firmly bolted.
But here lies the core problem: art should be a vessel for belonging, expression, and community—not a stronghold for sameness and exclusion. “Where are the Black people? The Black children? Surely there are people like me who want to be doing this thing,” Nena Gilreath recalls asking herself during her tenure at the Atlanta Ballet 08:00. And so she, together with her husband, dared to create an answer: Ballethnic—a place where the tradition of ballet is joyfully cracked open and every margin is centred.
Transformation in Action: Blending Form and Freedom
What happens when you dismantle the idea that ballet is reserved for one kind of body, or indeed one kind of culture? Nena Gilreath’s Ballethnic fuses classical ballet’s technical prowess with West African dance, R&B rhythms, and a celebration of bodily diversity. They have reimagined classics, relocating “The Nutcracker” from a snowy Russian fantasy to Atlanta’s Sweet Auburn Avenue and recasting the Sugar Plum Fairy as “Brown Sugar”—weaving in community, local culture, and joyful veracity 28:28.
The impact is profound. Onstage, audiences witness curvier, older, and vastly more ethnically diverse performers exemplifying technical skill and contagious artistry. Offstage, families who once swore off ballet flock to packed venues, generations returning year after year. Children of five dance alongside octogenarians, and neurodivergent and disabled students are invited to move in ways that honour their own rhythm and style 33:22.
Where ballet once prescribed, Ballethnic liberates—encouraging not only physical movement but spiritual freedom. As Nena Gilreath shares, “At the end of the ballet, what’s so funny is people don’t want it to stop. There’s live drumming, everybody’s upbeat, the audience has jumped up, everybody’s moving. It’s a spiritual experience. It’s immersive…the community needed it” 43:32.
Problem: Systemic Barriers to Full Inclusion
This journey, however, has not been without formidable obstructions. Ageism, racism, sexism, and structural underfunding persist. Ballethnic has faced the common retort, “We don’t need a Black ballet company—why can’t you just be satisfied?” 47:50. Opportunities are too often limited to diversity “showcases” rather than meaningful artistic platforms. Funding remains disproportionately scant. Yet, through dogged perseverance, a refusal to shrink in the face of stereotype, and an insistence on telling authentic stories—Ballethnic and Nena Gilreath continue to carve out space where none was offered before 49:44.
Accessible Inclusion: Bringing the Margins to the Centre
So, how do we move from appreciation to actionable inclusion? Nena Gilreath offers a blueprint applicable far beyond dance:
1. Redefine What Belongs
Challenge inherited ideas of who is “supposed” to be seen and celebrated in any space. Ask yourself: “Whose voices, bodies, and stories are missing here?” Then, create structures that welcome rather than just tolerate difference.
2. Build Pathways, Not Gateways
Follow Ballethnic’s lead—invite people with disabilities, from all ages, all ethnicities, all body types, and neurodivergent backgrounds into your artistic or professional spaces. Adapt your forms where necessary to allow participation—not just as an act of representation, but as a source of creative enrichment.
3. Make Joy a Radical Act
Expression and embodiment are not only technical exercises but acts of cultural reclamation. Use celebration, joy, and even play as tools for resistance and empowerment, breaking open traditions and welcoming new influences.
4. Advocate for Systemic Change
Refuse relegation to the diversity “side act.” Demand year-round opportunities, appropriate funding, and recognition that reimagined forms are valuable in their own right, not just as box-ticking exercises.
5. Centre Community and Legacy
Create art and inclusion practices that encourage participation across generations. Make sure the door you unlocked does not close behind you—mentor, archive, and succession-plan so that inclusion becomes both sustainable and scalable 58:16.
The Call: From the Margins, to the Centre of Every Stage
The true lesson from "Centering the Margins" is this: Inclusion is not a one-off event or a moment of tokenised visibility. It’s the decision—again and again—to shift the spotlight, to reimagine whose story we tell and how we tell it. Whether in the arts, the workplace, or public life, following Nena Gilreath’s example means refusing to be pressed into a pre-ordained mould or limiting ourselves to the back row.
As Joanne Lockwood urges, “Art should be a vessel for belonging, expression, and community—not a stronghold for sameness and exclusion.” The challenge now is for all of us to create spaces in our lives—big or small—where no one is ever left simply standing on the margins.
Take Action:
Watch, learn, and be inspired by the story and legacy of Ballethnic; visit ballethnic.org and seek out their performances.
Listen to this Inclusion Bites episode, "Centering the Margins," and reflect on what it would mean to rewrite the rules in your own field.
Share this narrative—as stories catalyse change, your amplification is part of the solution.
Most importantly, ask yourself each day: “Whose margin can I help centre today?”
Let us all step into the circle. Let us all dance.
LinkedIn Poll
LinkedIn Poll Context
In Episode 204 of Inclusion Bites, “Centering the Margins,” Joanne Lockwood explored with Nena Gilreath the transformative impact of blending traditional ballet with African dance and culture through Ballethnic. Their discussion challenged the classical ballet paradigm—expanding it to embrace diverse bodies, cultural narratives, and greater belonging on and off stage.
Reflecting on this episode: What do you believe is the most important factor in making the arts truly inclusive?
Poll Options
🌈 Diverse representation
🩰 Blending traditions
🤝 Accessible opportunities
💬 Community engagement
Why Vote?
Your perspective drives the conversation on creating truly equitable art spaces. Vote to help arts organisations see what matters most for meaningful inclusion.
#InclusionBites #Belonging #ArtsInclusion #DiversityMatters
Key Learnings
Key Learning & Takeaway
At the heart of this episode is the imperative to "centre the margins": to not only create space for those historically excluded from ballet, but to fundamentally redefine the art form by integrating diverse bodies, cultures and stories. True inclusion means moving beyond tokenistic representation—embracing difference as a source of power, joy, and communal belonging. As demonstrated through Ballethnic, transformation in the arts emerges when tradition is questioned, new narratives are authored, and all are empowered to participate, express, and thrive.
Point #1: Redefining Ballet—Body, Culture, and Movement
Traditional ballet has enforced rigid ideals of body types, movements and narratives, often to the exclusion of Black dancers and other underrepresented groups. Nena Gilreath and her collaborators have disrupted this by blending classical ballet technique with African dance, R&B, and modern influences, proving that excellence can be rooted in cultural identity rather than conformity.
Point #2: Challenging Elitism through Accessible Storytelling
By localising settings (e.g., "Urban Nutcracker" in Atlanta’s Sweet Auburn Avenue) and centring stories like "The Leopard Tale" and "Flying West", Ballethnic has made ballet accessible, meaningful and engaging to new audiences. Allowing the audience to see their own lives, struggles and joys reflected on stage is key to cultural transformation.
Point #3: Radical Inclusion—All Bodies, All Ages, All Abilities
Ballethnic’s approach is radically inclusive; it welcomes dancers of every size, age, ability, and neurodiversity. Participation is encouraged from the very young to elders in their eighties and beyond, demonstrating that dance can be intergenerational and accessible, and challenging the notion that dance is only for the few.
Point #4: Overcoming Barriers and Building Legacy
The journey has involved surmounting bias in funding, institutional gatekeeping, and the stereotype of ‘only one ballet company per city’. Success was built on perseverance, community, and a rejection of performative inclusion—moving instead toward permanent transformation and succession for the next generation of diverse leaders in dance.
Substack Post
Redrawing the Lines: Why “Fitting the Mould” Is Overrated
Have you ever caught yourself wondering why – even after years of “diversity initiatives” – so many people on the margins still feel invisible or unheard? Inclusion isn’t simply about opening the door; it’s about re–designing the room, making sure everyone is reflected and uplifted by what they see. This challenge is at the heart of creating cultures where belonging is not a slogan, but a shared, lived experience.
This week’s Inclusion Bites Podcast episode, “Centering the Margins”, offers a window into what happens when you dare to break the rules and centre those who have always been expected to change themselves to fit in. For anyone grappling with how to move beyond token gestures to meaningful transformation, this conversation is the antidote to business as usual.
Privilege, Possibility, and the Power of Reimagining
In this episode, I’m joined by the indomitable Nena Gilreath, co-founder of Ballethnic Dance Company in Atlanta, Georgia. Her story is a masterclass in what happens when you refuse to squeeze vibrant lives into narrow traditions.
Together, we unpack everything from the Eurocentric roots of classical ballet – with its rigid body ideals and cultural gatekeeping – to the birth of ‘ballethnic’, a bold blend of ballet with Black and African dance traditions. We explore how Nena Gilreath, alongside her co-founder and husband, set out not just to diversify who gets to dance, but to redefine what ballet itself can be.
This conversation isn’t just relevant to D&I leads or HR professionals; it’s essential listening for anyone tasked with recruitment, development, or supporting wellbeing at work. It touches on lived experience, organisational change, and what it means to be truly innovative – not just in the arts, but in every sector obsessed with “culture fit.”
Breaking the Mould: Insights from Nena Gilreath
What struck me most was Nena Gilreath’s unapologetic approach to legacy and disruption. Here was a woman who’d literally stood in the wings during Swan Lake, asking herself: why is no one on this stage who looks like me? Why are certain bodies, stories, and movements always on the fringe?
Through Ballethnic, Nena Gilreath carved out space for dancers (and audiences) who had been historically excluded, blending classical technique with the community, rhythm, and joy of Black and world dance forms. It’s a living blueprint for “centering the margins” – taking what was once Other and making it the new norm.
From Inspiration to Action: Lessons to Rethink Inclusion
Every episode, I aim to bring you not just stories that move, but actions you can carry back to your own organisations. Here are a few of the most stirring insights from this conversation:
Expand (and Redefine) “Who Belongs”
It’s easy to list inclusion as a value, but true change means questioning who’s always been backstage. Like Nena Gilreath, ask: who isn’t here, and why? Invite input from those you rarely hear, and bring overlooked voices into decision-making on systems, not just events.
Challenge Body Norms and Skill Stereotypes
Traditional ballet favours a single body type and background – a mirror to many workplaces. Nena Gilreath’s refusal to enforce one aesthetic (from size to hair to culture) is a call to reward capability and potential, not just résumé “fit.” Who are you discouraging before they even apply?
Make Joy, Engagement and Accessibility Central
Inclusion is not merely an accommodation or concession; it’s an aesthetic – an energy that infuses every process, from recruitment to learning. Ballethnic’s performances are joyous, immersive, and accessible in a way conventional ballet never tried to be. Could your onboarding or L&D offer the same sense of belonging?
Shift the Narrative: From Celebration to Every Day Presence
As Nena Gilreath points out, marginalised work is often paraded during “heritage months” and then ignored. Ensure real representation is woven into daily processes – from panels to hiring, promotions, and supplier choices. Expecting excellence, not tokens.
Legacy as Collective Effort
Building enduring change is never a solo pursuit. Ballethnic’s intergenerational company, with dancers aged from 5 to 80+, offers a model for how to reimagine succession and institutional memory. As you look to the future, how are you ensuring new stewards are resourced, not just included?
Experience the Energy: A Snapshot from the Studio
Words can only do so much justice to the transformation at play. For a taste of the energy, creativity and rebellion behind Ballethnic, watch this minute-long audiogram, where Nena Gilreath and I dive into the symbolism, struggle and celebration of centring Blackness in spaces where it has long been marginalised.
Watch the Audiogram – A Moment of Movement (See the flair, hear the rhythm, and feel why the status quo is ripe for disruption.)
Ready to Reimagine Your Own Stage?
If this conversation set your mind racing as it did mine, I highly recommend listening to the full episode for a deep dive into the practice and philosophy of inclusion-without-limits.
Tune in here to listen to “Centering the Margins” wherever you get your podcasts.
Share this episode with your leadership team, your HR colleagues, or anyone who’s certain “culture fit” is the only way forward. Use it as a talking point in your next learning session. After all, change only happens when we dare to expand the guest list.
One Final Thought: Whose Truths Are Still Waiting in the Wings?
So, I leave you with this: What stories, talents or cultural traditions are still waiting in the wings at your organisation? How might you break the old moulds, and make space at centre stage for voices that were never meant to fit in, but to shine?
Let’s keep pushing the envelope on belonging – not as a buzzword, but as a bone-deep commitment to seeing, hearing, and celebrating everyone.
Until next time,
Joanne Lockwood
Host, Inclusion Bites Podcast
The Inclusive Culture Expert at SEE Change Happen
Keep connected and keep the discussion alive:
If you’re looking for an engaging speaker, bespoke training, or support in making inclusion real where you are, I’d love to connect at jo.lockwood@seechangehappen.co.uk.
Are you ready to stop standing on the side-lines and help re-centre the margins?
A Subtitle - A Single Sentence describing this episode
Nena Gilreath explores the revolutionary fusion of ballet and African dance, highlighting the creation of Ballethnic as a bold celebration of black excellence, diverse bodies, authentic belonging, and community-centred artistic expression.
Episode Summary with Intro, Key Points and a Takeaway
In this episode of The Inclusion Bites Podcast, Joanne Lockwood is joined by Nena Gilreath for an illuminating conversation entitled "Centering the Margins". Delving into the world of ballet through a radically inclusive lens, Joanne and Nena explore how dance can both reflect and shape the narratives of belonging, cultural identity, and representation. Through discussions on redefining the ballet aesthetic and breaking entrenched norms, listeners are invited to reconsider what constitutes excellence and authenticity in the performing arts. The episode challenges assumptions about body image, tradition, and artistry, demonstrating the need for creative spaces where everyone’s story has a rightful place.
Nena is the co-founder of Ballethnic, a trailblazing dance company rooted in Atlanta and renowned for reimagining ballet through the centring of Black excellence and the integration of African dance concepts. With more than three decades of artistic leadership, Nena has made it her mission to cultivate legacy and opportunity for those overlooked by traditional ballet institutions. She articulates her superpower as "holding the line" for Black dancers—establishing space, legacy, and far-reaching possibility. In her conversation with Joanne, Nena shares her journey from the Atlanta Ballet to creating a new dance vocabulary with her husband, incorporating not just ballet tradition but also social dance, African music, and a celebration of all body types and backgrounds. Their approach champions representation on stage and off, whilst inspiring profound cultural and artistic change.
Joanne and Nena discuss how centring the margins is both disruptive and affirming, addressing resistance, funding inequities, and the challenges of moving from ‘diversity act’ status to mainstream artistic visibility. They highlight the joy, liberation, and community that arises when creative standards are redefined to include everyone. A key takeaway is the power of reimagining tradition: inclusive artistry not only enriches culture, but also transforms collective understanding of belonging and beauty. Listeners are encouraged to confront legacy narratives, celebrate difference, and discover the vibrant possibilities of inclusive community building through the arts.
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