Ballet Without Barriers
Ballet Without Barriers
by: Bedor Alobaidi
Ballet without barriers, or ballet that changes disabilities in another term of naming and categorizing. It sounds like a loose phrase, but it carries deep within it the soul of the humanitarian message that ballet art should embody and be known for, making it accessible in the true sense of the word within a tangible reality in theaters that present ballet in cities and countries across America, Europe, the Middle East, and beyond. We have long been accustomed to seeing ballet as a delicate practice that is easy on the eyes yet, at times, heavy on the body due to the pressure endured by ballet dancers on the nerves of their feet when performing pointe dance in many solo scenes or alongside other dancers. These performances last only a brief moment on stage during live shows. But, what most people don’t know or unfamiliar with is that behind all that sweetness and heightened sensitivity of delicate emotions lies a hidden strength rooted in movement, balance, and the tension in the arms and the legs muscles.
Even though it may not be immediately noticeable, pressure occurs in certain parts of the body, while in others, even when they seem relaxed when preferring certain positions, there is this elegant a limerick of hidden strength. Anyone who has practiced ballet—whether professionally, as a hobby, or at least have practiced ballet personally, with a trainer or have taken the responsibility to practice ballet on their own, will know what I mean there.
In a special resourcefulness by the Ballet in Des Moines Company, Iowa, they collaborated with the IRS and Value Inclusion among their sponsoring organizations and partners side by side with people volunteering and donating their time and dedication to make the ballet experience more relevant and accessibly smooth and enjoyable for individuals with disabilities and exceptional abilities, along with related programs in the same state and donors from charities dedicated to enhancing the language of the arts, particularly ballet, a challenging art form often misunderstood by those who do not have any visual, mental, or physical disabilities. Therefore, studying this case and translating it for individuals with disabilities, such as the deaf and mute or the visually impaired, has made ballet a language interpreted through all the senses as the way it should be spoken, developed, seen and touched by the sound and breeze of its own. There was even a translation for the music, its genre, and the era it represents, from its composer and the current choreographer who will be directing the performance of “The Nutcracker”, which is considered an annual tradition for most of the Western world not just American ballet during the holiday season, specifically in December.
I was fortunate to experience this firsthand with a group of prominent figures in the ballet community, including contributors from the private sector and supporters, as well as media representatives and public opinion leaders. This event provided them with an idea of how to introduce such a model of activities that brings the language of ballet closer to recipients of all forms and differences, making diversity a distinctive language that can be addressed and expressed in various ways. It fosters a common language of dialogue between the sender and receiver from different backgrounds, ages, and abilities.
The invitation included a comprehensive program that began with a social gathering and introductions among members both those discovering the institute for the first time and those who are ballet enthusiasts wishing to offer material, charitable, or moral support. The program also featured similar initiatives that allow people, especially students, to access ballet throughout the year at very reasonable prices for all age groups, whether they are new to ballet or interested in continuing to support it through performances held in the city center, other parts of the state, and even outside the state at different times of the year or according to scheduled seasonal performances.
The program included an invitation to dinner after the social gathering, followed by watching rehearsals for the play scheduled to be performed this month. After a break, we resumed watching the choreography, musical arrangement, costume design, and makeup. Occasionally, they provided us with a brief overview of what the atmosphere of the theater would be like in general, addressing artistic aspects such as lighting, décor, and technicalities that could be discussed and inquired about during the dinner session or between the first part and the break in the second part of the overview. The evening concluded with desserts and drinks provided by a chef who educated us about the dinner, whether it was from a restaurant or consisted of dishes from other countries. It was an enjoyable, rich evening filled with people and discoveries, and I was delighted to receive the invitation to attend and see this before the official performance dates began.
Most importantly, this activity and initiative aim to encourage as many people as possible to come to a place where their presence is welcomed, safe, and inspired by them and their stories, with love and appreciation from the ballet institution itself and its supporters and generous donors throughout the state of Iowa, and beyond.
— Bedor Alobaidi
Images: By creative artist and art director Jami Milne. Ballet Des Moines Nov.16.2025
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