Ask children to describe a ballerina, and they begin by noting the iconic tutu. She’s dressed in pink tights and satin pointe shoes, adorned with glistening jewels her hair is fastened into a neat bun. All in all, quite the accurate description, but one thing goes unmentioned. What color is her skin?

Professional ballet companies have always attracted dancers of various nationalities. Some of the most notable performers in U.S. companies hail from countries like Russia, France, Brazil and Argentina. This has been a huge reason for the global appeal of ballet, as people of all nationalities have something to bring to the art. However, it’s striking that while a line of swans in “Swan Lake” might speak five different languages, their skin tones are not nearly as diverse. Admittedly, ballet is an aesthetic art form: lines must be precise, bodies must be similar in size and the overall picture must be consistent. Grueling casting and audition processes take everything into account, but at what point must talent outweigh uniformity?

The ballet world has its fair share of critics on this subject, and these concerns do not go unnoticed.

Earlier this year, Misty Copeland, a black dancer, debuted in the roles of Odette and Odile in “Swan Lake” and as Juliet in “Romeo & Juliet,” roles traditionally filled by white dancers. This past June, Copeland made headlines yet again by becoming the first black female dancer in the American Ballet Theatre’s 75-year history to be promoted to principal rank, the highest level of achievement.

Simultaneously, Stella Abrera was promoted to principal dancer. This made history yet again, as Abrera became the first Filipino-American dancer reach such a status in the iconic company.

The hard truth is that ballet was originally established as upper-class entertainment. Theater tickets were incredibly expensive, and only those in certain social circles were exposed to the art. The root of the problem, unfortunately, dates back generations.

In recent years, there have been several attempts at finding a solution. One notable example is ABT’s Project Pli. Launched in 2013, it is “a comprehensive initiative to increase racial and ethnic representation in ballet and to diversify America’s ballet companies,” according to ABT. With Copeland — a prime example of the changing ballet landscape — a part of its advisory board, the program provides 40 students each year with full scholarships to ABT’s various training programs. Doors once closed to children because of economic barriers are now open.

Strides are being made, but Copeland is only one exception to the predominantly white world of ballet. In order to place dancing first, we need to recognize talent first, and the rest will follow.

A version of this article appeared in the Thursday Oct. 22 print edition. Email Katrine at [email protected]