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Breathing: The Missing Link in Ballet Posture, Core Activation, and Injury Prevention

  • Writer: Veronica K
    Veronica K
  • Sep 24
  • 6 min read

As a Certified Personal Trainer, Physical Therapist Assistant, and Professional Dancer specializing in ballet injury prevention, I have worked with countless dancers who underestimate or misunderstand one of the most important elements of ballet technique: breathing.


In the ballet world, we often hear cues about posture, turnout, or core strength, but rarely do we hear detailed instruction about how to breathe. Breathing is more than just an automatic process; it is the missing link to connecting and activating the core, supporting ballet posture, and preventing injury.


The Muscles of Respiration


Ballet Posture Ballet Breathing

Breathing relies on two main groups of muscles: primary and accessory.


  • Primary muscles: The diaphragm and external intercostals are the key players in quiet, efficient breathing. The diaphragm contracts and descends, creating space in the thoracic cavity for the lungs to expand. The transverse abdominis (TrA) works synergistically with the diaphragm to regulate intra-abdominal pressure, stabilize the spine, and support core activation.


  • Accessory muscles: The sternocleidomastoid, scalenes, and muscles of the upper chest and neck activate when breathing becomes shallow, rapid, or inefficient. While necessary during exertion or high-intensity activity, they should not dominate normal breathing mechanics in ballet technique.


Chest Breathing vs. Deep Core Breathing


Many dancers fall into the habit of chest breathing, where air expansion is concentrated in the upper chest.


This type of breathing is inefficient for several reasons:


  • It primarily uses accessory muscles, which creates unnecessary tension in the neck and shoulders.

  • It limits the use of the lower lobes of the lungs, reducing oxygen exchange and endurance.

  • It visually displays strain and effort, which disrupts the artistry of ballet performance.


In contrast, deep diaphragmatic breathing supported by the transverse abdominis allows full utilization of all lung lobes. This results in oxygen-rich blood supply to the muscles, improved endurance, and greater efficiency.


The outcome is a dancer who appears to move effortlessly, even though we know it is hard work!


Breathing and Core Activation in Ballet


A common misconception among dancers is that "engaging the core" means sucking in or holding the stomach flat.


This strategy actually shuts down core activation, restricts the diaphragm, and compromises spinal alignment. True core activation involves the coordinated engagement of the diaphragm, transverse abdominis, pelvic floor, and multifidus.


When these deep stabilizers are integrated with breath, they create intra-abdominal pressure that supports ballet posture, balance, and injury prevention.


Proper breathing during ballet exercises ensures that muscles receive the oxygen they need to sustain long combinations, maintain posture, and avoid compensations.


A Practical Ballet Example to Try


Do this at the barre or in first position. One hand lightly on the barre for balance, the other hand resting on your lower ribs/upper belly so you can feel the breath.


Step by step


  1. Set your posture. Stand tall in first position with a neutral pelvis, ribs soft, shoulders down and back, and chin long. Breathe normally a few times to settle.


  1. Find the diaphragm and belly rise. Place your hand just below your sternum and above your belly button. Inhale slowly through the nose for a count of three. Feel the lower ribs and belly gently expand under your hand. This is diaphragmatic breathing, not puffing the chest up. Let the breath spread outward into the lower ribs.



  1. Reset the core feeling. On the next exhale, breathe out slowly for three to four counts. As you exhale, allow a gentle, automatic activation of the transverse abdominis. Think of a soft zipper drawing the lower belly slightly in toward the spine. This is not a hard suck or holding your breath. It is a controlled, gentle engagement.


  1. Add the plié with inhale to lower. Prepare in standing. Inhale as you begin the lowering phase of a demi plié for a count of one to two. Feel the belly rise under your hand and the ribs expand. Use this inhalation to support spine length and allow the diaphragm to descend. The breath should assist the lowering, not be held.


  1. At the bottom maintain openness. At the lowest point of the plié keep the ribs soft and the belly lightly filled with air. Do not brace or clamp the belly. Maintain the connection between breath and posture.


  1. Exhale to rise and engage transverse abdominis. Exhale smoothly as you rise from the plié for a count of one to two. As you press up, feel the transverse abdominis engage with a gentle drawing in of the lower abdomen. Notice the adductors, or inner thighs, come online to support the lift. You should feel the belly flatten slightly under your hand as the transverse abdominis contracts, and a subtle inner thigh activation rather than hard gripping of the glute max.


  1. Sensory cue for the adductors. To help the adductors fire appropriately, imagine squeezing a ball during the rise. You can also place a small soft ball or rolled towel between the thighs and feel light pressure increase on the exhale and rise. Do not squeeze hard.


  1. Repeat slowly and mindfully. Do six to eight controlled repetitions, staying slow enough to notice the inhale with the lowering and the exhale with the rise. Focus on belly rising under the hand on inhale, soft openness in ribs at the bottom, and a gentle zip of the lower belly with inner thigh support as you rise.


Troubleshooting and quick cues

  1. If you feel neck or shoulder lifting or sternocleidomastoid activation: Relax the shoulders and lengthen the neck. Think “low belly breathe” not “lift the chest.”


  1. If you instinctively suck in the stomach: Stop and practice three supine diaphragmatic breaths while lying on your back with your hand on your belly. Feel natural belly expansion first, then return to standing pliés.


  1. If the glute max grips too much on the rise: Cue yourself to think “inner thighs and lower belly” rather than “squeeze glutes.” Lengthen the tailbone slightly and allow the transverse abdominis with the adductors to coordinate the upward drive.


  1. If breath is held: Remind yourself that the breath is continuous. Inhale to lower and exhale to rise. Never brace and hold.


Progression for class


Start with one to two sets of six to eight slow pliés with breath coordination during warm up. Once the timing and sensations become familiar, integrate the same inhale on the lowering phase and exhale on the rising phase pattern into center work and across basic barre combinations. Over time this breath driven core activation improves endurance, supports alignment, and reduces compensatory gripping. It helps dancers move with more control and less visible effort.


Injury Prevention and Efficient Ballet Posture


When dancers rely on chest breathing and overuse accessory muscles, compensations occur throughout the body. Poor oxygenation, muscular fatigue, and inefficient recruitment patterns increase the risk of overuse injuries.


By training breath patterns alongside ballet corrective exercises, dancers improve endurance, decrease strain, and refine their artistry. Proper breath control helps create the illusion of effortlessness while reducing the likelihood of injuries common in ballet.



Retraining Breath: From Awareness to Application


Learning to breathe properly in ballet technique often requires exaggeration at first. Dancers must retrain their neural pathways to stop chest breathing, avoid bracing or bearing down, and instead use the diaphragm and transverse abdominis as intended.


Over time, this becomes natural, and the payoff is substantial: improved posture, greater endurance, safer technique, and enhanced artistry.


Breathing is not just about air—it is about efficiency, posture, endurance, and injury prevention. Ballet dancers who embrace diaphragmatic breathing and deep core activation unlock a new level of control, artistry, and longevity in their careers.


Core activation, ballet posture, and injury prevention all begin with the way we breathe. It is time to stop holding our stomachs in and start breathing our way to safer, stronger dancing.


If you are ready to take your ballet training to the next level by improving your control, breathing, posture, and injury prevention, I would love to work with you.


You can book a15 minute consultation with me to discuss creating a customized plan for your needs.


Studio owners, teachers, and dance programs I would love to work with your dancers to help them improve their breathing, core control, posture, and injury prevention.


I travel to studios throughout Ohio and Arizona to lead master classes and workshops tailored to your students’ needs. To bring this training to your ballet programs, email me at info@veronicakballet.com.


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