Is There a Link Between Ballet and Fencing?

I have long heard that ballet has its origins in historical fencing. It’s a romantic idea, and as someone who both teaches martial arts and dance, I certainly find tons of parallels in how they are both taught and practiced.

But is there actually a direct historical connection?

Two Theories of Connection

The connections between ballet and fencing are often cited as originating in one of two ways:

The Italian Theory

Ballet evolved as a dance interpretation of Italian swordplay from the 15th or 16th centuries. Catherine de Medici, a patron of the arts, is credited with transporting ballet (from the Italian word “ballo”) to France when she married Henry II in 1533, later becoming Queen of France in 1547.

The French Theory

Louis XIV of France (reigned from 1643 to 1715), an avid dancer and student of fencing, brought aspects of fencing footwork and exercise into his practice. He established the Académie Royale de Danse in 1660, formalizing what would become classical ballet.

The Visual Similarities

The positions of modern ballet certainly bear some resemblance to classical and historical fencing positions, though turned out to an extreme degree.

Images from the 1470 manual of Phillipo Vadi of Italy show turned out feet in gathered positions, with some looking very much like ballet’s first or second position in their most turned out sense.

Similar stances appear in Achille Marozzo’s 1536 manual on sword and buckler.

Later French fencing manuals from the 17th century, such as Philibert de la Touche’s 1670 work, display similar turned-out positions.

Jean Labat’s 1696 manual also shows the characteristic turned-out stance that became a hallmark of both classical fencing and ballet.

A Skeptical Perspective

However, some researchers have questioned these direct connections. The “turned out feet” in fencing offer biomechanical advantages for lunges - engaging the heel and gluteal muscles when pressing off the floor, and facilitating keeping one side presented while passing with the feet.

Critics also note that ballet developed primarily from 15th-century Italian social dancing, not from combat sports practiced in the Royal French court. Without documentary evidence of direct transmission, the connection may be coincidental rather than causal.

Alternative Explanations

Rather than direct transmission from fencing to ballet, the parallels might result from:

• Biomechanical similarities - Both arts require generating power, maintaining balance, and controlling the body through space
• Social influences - Noble physical aesthetics affected both disciplines similarly
• Shared material culture - The same social classes practiced both arts, and fashion and deportment standards influenced both

Conclusion

It’s difficult to definitively prove that martial footwork intentionally influenced ballet’s development. What we can say is that both arts emerged from similar social contexts and share striking visual and mechanical similarities.

Whether the connection is direct influence, parallel evolution, or simply shared cultural DNA, studying both arts together enriches our understanding of how Renaissance and Baroque Europeans moved, fought, and expressed themselves through their bodies.