Ballet and Return On Outcome

Source: Ballet Without Borders teaching in partnership with the Ella Foundation

By Katia Kullengren and Iggy Pintado

What’s the Return on Outcome on ballet? I asked my colleague, Katia Kullengren, Chair and Founder of Ballet Without Borders, a not for profit organisation that provides children and adults from underprivileged backgrounds the joy of ballet education as well as health and wellbeing to their communities. Here is Katia’s perspective:

The arts world is predominantly designed for the wealthy. None more so than the beautiful art form of ballet.

The average ticket price for a ballet performance is around $200 or more depending on seating arrangements in proximity to the stage. Seats situated anywhere near the back of the venue would mean viewing the players as tiny spots moving before your eyes.

Why do we continue to underfund the arts and reserve it only for the wealthy? The answer is that many simply do not see a Return on Investment (ROI) that quantifies a return on funds invested in the program. In essence, there are no Gatorade logos one can put on a tutu to advertise the product. Which is why sports are so well funded and accessible, it just takes a moment to look at a football game to see advertising in every corner including the players.

However, what most have not considered is the Return on Outcome (ROO).

If considering an ROI, the financial investment required will most likely never be returned. When considering ROO in ballet, I think about the joy that students get when they are taught ballet in disadvantaged communities. The ROO is evident in these images

These children may not ever have the means to attend ballet performances now or in the future, or to continue practising ballet even if talented enough, due to financial disadvantage.

However, what ballet provides these children can be assessed as a ROO. The Return on Outcome is in opening young minds to new ideas, experiences, and potential talents. To the joy in movement, and lifelong skills gained through an experience otherwise only afforded to few.

A child might dislike ballet, but they tried it. They gave something new, scary, and stigmatised, a go.

So, to what end or outcome? Have the fears about trying new and different things been worn down slightly? Have they realised that boys dance too, paving the way for reduced bullying and more males in dance? Have they experienced a new appreciation for classical music that they did not know existed?

The short answer to all three questions is most probably “yes”. All because the initiative was not planned with primarily a commercial and financial return imperative, but considered for its potential to return positive, fruitful, and joyous outcomes to those who benefit most from the experience; children who would otherwise not have an opportunity to participate in ballet.