This paper will deal with the topic of pedagogical practices applied in ballet training as well as in contemporary dance training. By the term pedagogic practices, I mean practices that have become established as normal, acceptable and common in education in both branches of dance art, which I will observe in this paper through the aspect of schooling (education), the artistic aspect will not be thematized in this paper. In my work, I will try to present their diversity, a different approach to children and young people in education, and later in professional work. The basic premise of the work is that authoritarian practices and the commanding style of teaching in ballet education do not educate the individual but only train him, and it is precisely the authoritarian approach of the teacher who acts from a position of power that does not allow the child's personality to develop to its full capacity. Equally, the child's exposure to a different pedagogical relationship, through a constructivist approach to education, enables the child to have a more equal relationship in the student-teacher relationship, which certainly encourages the development of the child's personality, calls for the acceptance of diversity and facilitates the development of the child's capacities. Such a pedagogical relationship becomes an important factor in getting to know the "Other" and the different, which encourages the individual to think critically, but also to a broader understanding of himself and the community in which he works. Under the term identity in this paper, I will assume primarily a professional, dancer's identity. The methodological work was written mainly in the form of autoethnography, using my own long-term experience as a dancer as well as a teacher in both dance arts, and as a method I also used qualitative research, which seeks confirmation of its theses in the theoretical framework of pedagogy as a science.