When Leroy Mokgatle first donned her ballet slippers, at the age of eight in South Africa, no one could have predicted the revolutionary force she would become. Rising on the international stage by winning bronze at the Youth America Grand Prix in 2014, gold at the Genée International Ballet Competition in 2015 and the Audience Award at the Prix de Lausanne in 2016, Mokgatle was immediately recognized as a prodigy.
However, being a trans woman of a short stature navigating a discipline with rigid gender roles, the beginning of her journey was marked by constant doubts and structural barriers.
Today, as a demi-soloist at the prestigious Staatsballett Berlin and excelling in traditionally female roles such as the Wisdom Fairy in Sleeping Beauty, Mokgatle is completely redefining the rigid social standards of classical ballet.
Ballet’s Dark Side
Historically, ballet has functioned as an art form defined by extremely specific physical, racial, and gender ideals, which leave little room for diversity. For centuries, the ideal “ballerina” was expected to embody a delicate, traditionally feminine aesthetic, adapting to rigorous Eurocentric standards of physical type, skin tone, and movement.
However, behind this entire pursuit of the perfection displayed on stage lies a long history of oppression, ranging from rigid aesthetic pressures, to deep-seated racism, which has historically excluded dancers from minority groups.
Leroy’s Rise
Mokgatle’s early career experience, constantly being told she was “too feminine” while undergoing a male-oriented training system, perfectly demonstrates the emotional impact these inflexible standards have on young talent. In a traditional environment that often sought to standardize bodies and expressions, she dealt with criticism regarding her height and her uniquely expressive style. By turning adversity into creative fuel, she paved the way to establish herself as a prominent soloist in renowned European companies, such as the Berlin State Ballet.
Gender divisions, racial inequalities and barriers imposed by industry elites profoundly influence who achieves success in the ballet world. As Mokgatle herself reflected on her early years in South Africa: “looking to the future in classical dance seemed incredibly difficult because black people were rarely considered or embraced by the big institutions”.
Racism rooted in art and the insistence on uniformity have stifled many promising dancers, making the path for them an uphill battle against systemic prejudices. When classical spaces require artists to fit into a single mold, countless visionary talents are forced to hide their true strengths or abandon their dreams altogether.
Great Results
However, Mokgatle’s relentless determination to embrace her authenticity, by practicing pointe work, seeking out the entire classical repertoire, and holding open conversations about nonbinary art, helped open these very rigid doors.
By joining the Béjart Ballet Lausanne and later following artistic director Christian Spuck to the Zürich Ballet and the Staatsballett Berlin, Mokgatle refused to hide her talent or compromise her identity to live up to traditional expectations. By auditioning and mastering both powerful athletic technique and delicate épaulement and pointe work with equal brilliance, she proved that technical excellence and artistic expression are not tied to outdated gender limitations.
Leroy Mokgatle’s rise to global prominence represents a powerful claim to a space that was never originally designed for people like her. By stepping onto the world’s stages in pointe shoes and delivering captivating, exceptional performances on her own terms, Mokgatle is breaking down centuries of tradition and showing the world that diversity, rhythm, and genuine self-expression have a place at the heart of classical ballet. Her victorious journey sends a direct message to the entire dance industry: the title of “ballerina” belongs to anyone who has the dedication, artistry, and courage to dream.
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The article above was edited by Nina Simonetti.
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