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Dark skin as an aesthetic issue in classical ballet


Tapfan

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Let me be clear. This is not an attempt on my part to to reopen the much-discussed topics concerning; the lack of diversity in ballet, whether enough is being done by the classical dance establishment to increase diversity or if diversity should even be a primary concern.

I personally believe that increased diversity is happening regardless of what is or isn't done by the powers that be.

But I wonder as to how the concept of classical dance corps de ballet unity can be delt with in a multi-cultural world.

I know that the corps de ballet of many major companies have many non-white Latinas and Asian women and that a few have black female dancers.

But none these women seem to have very dark skin.

Surely there are fine classical dancers with all the right stuff to have great careers - technique, musicality, stage presence, work ethic and good attitude - who will nonetheless, be steered to Broadway or modern dance because their skin tone is too many shades away from the supposed ideal color.

What was it that Mr. B said was the ideal? Oh yes, the color of a peeled apple. :unsure:

I know the reptilian part of the brain makes more noticable, that which is most different from the whole. But should we still be giving in to such instincts in 2011?

From now to the end of time, must a sylphid, a Willi or heck, even a Giselle, always look like a young Nicole Kidman clone?

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I think the way this becomes a nonissue is for corps de ballet to become more integrated. As it changes, perceptions will change.

I came to this conclusion long ago, when watching the National Ballet of Cuba dance "Giselle" in 1979. That company was the most integrated I've seen, before or since. At least half the corps, both men and women, had very dark skin. About a quarter had fair skin, and a quarter were....tan.

I noticed this for the first five minutes, and remember thinking, "This doesn't look "right." "Giselle" is set in the Rhine and there's no attempt to make these people look like Rhinelanders." And then the dancers were so good, so alive, so absorbing to watch that I stopped thinking about it. Their second act corps was very regimented then -- this was a different version. No corps was more "alike" than those multicolored dancers.

Ballet is about harmony, yes, and balance and symmetry. But skin color -- or hair color or eye color -- doesn't have to define symmetry. Style should define symmetry in classical ballet.

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I don't think the supposed historical settings of ballets matter much when it comes to casting because there has to be such a suspension of disbelief anyway.

Dancing spirits? People dying of a broken heart? Murdering people by dancing them to death? Come on!

LaBayadere is almost always cast with white dancers. How historically correct is that?

Besides, black women and other women of color have been singing lead roles at the world's most prestigeous opera houses for over 50 years and nobody thinks a thing about it. Why? Because people have become accustomed to seeing it.

And where do you see the most non-traditional casting of Shakespeare? In the land of his birth. The Brits don't seem to think that you can do damage to Shakespeare with imaginative casting.

I can't remeber the last time I've heard of a high profile British production of Romeo and Juliet that didn't have the Montagues and Capulets cast as families of different races.

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Sorry. Didn't mean to sound as if I was attacking you or anyone.

And yes, I know that diversity has been discussed here many, many times before.

I was just wondering how do the AD's take the first step to getting past colorism?

I worry about young dancers like Michaela DePrince, who shows great promise but who may make some folks uncomfortable because she has dark skin.

Will she be told to do modern dance or contemporary ballet even if she has the chops to do classical? Dance Theater of Harlem and Ballet Black have only so many slots.

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I don't want to rehash what I consider a closed issue in diversity in the main ensembles. Just as attitudes toward interracial marriage have evolved dramatically in recent decades, so has our acceptance of racial diversity in so many other settings.

But I have always been intrigued by Balanchine's interracial casting in the main pas de deux in Agon in 1957 (Arthur Mitchell and Diana Adams).

http://www.nycballet.com/company/rep.html?rep=13

This was repeated in the televised version with Heather Watts and Mel Tomlinson in the 1980s:

http://www.nytimes.com/1981/11/29/arts/city-ballet-tomlinson-makes-debut-in-agon.html

People often refer to Agon as his "Sputnick ballet" but I sometimes wonder if it is really his Brown v. Bd. of Education ballet. That 1954 decision desegregating the schools unleashed a virulent racist uproar in much of the country. It was a decade before the 1964 Civil Rights Act finally ended the ugly Jim Crow laws still rampant in so many states. Balanchine was not in ignorance of what was happening in the country when he cast that ballet. Imagine how provocative the choreography would have seemed in the 1950s in much of the country with an interracial couple.

I've never seen Balanchine discuss this angle to the ballet and wonder if others have seen any interviews along these lines. And I can't think of other Balanchine ballets in which race seemed to be used to make quite the statement that this one does. This racial element is referenced in a recent blog posting:

http://thewinger.com/category/rehearsal/

(scroll down to: "A Very Lengthy Recap Post" about rehearsals in 2010 at Vail, directed by Watts):

Balanchine famously said that when you put a man and a woman on stage you already have a story; but what is not always acknowledged is the narrative power of putting a black man and a white woman together on stage in one of dance history’s most abstractly erotic dances during a time in America when racial separation, rather than symbiosis, was the rule. Thus Agon may be one of the abstract ballets but it is undoubtedly informed by the cultural politics of the time it was choreographed in – not only by the hyper-frenetic New York City of the Beat generation but also by the events at Little Rock and across the nation. The original casting of Arthur Mitchell and Diana Adams suggests the influence of this era on the ballet, if not in direct and purposeful rebellion than at least in some sort of subtle irony. So the pairing of Eric and Carla, with this knowledge, becomes even more striking; not to mention they are two of the most gorgeous people in ballet.
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I'm much less concerned about opportunities for men of color than I am about opportunites for women of color. Particulary those women whose very dark skin makes them stand out more.

That's why I mentioned it as an aesthetic issue for some.

How to get past the notion that only black women who pass the "brown paper bag test" need apply?

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People often refer to Agon as his "Sputnick ballet" but I sometimes wonder if it is really his Brown v. Bd. of Education ballet.
I love the way you express this, California. And I think you are right.

I apologize for repeating myself so often on this topic, but -- My first season as a ballet goer coincided with the Agon premiere. Up to that point, this particular white, suburban 10th grader had given very little thought to matters of racial injustice except on the theoretical level..

There was an "about time" quality about Diana Adams and Arthur Mitchell dancing this thrilling, intimate, sexually charged choreography that bowled me over. I saw Agon at least twice that season, and felt the positive energy in the theater and lobby each time. Sometimes I think of it as the one ballet that actually changed my life.

Perhaps the relative strangeness of the score -- compared, for example, with the much more accessible Swan Lake -- that opened people's minds and hearts, so that they might suspend their cultural expectations and allow beauty of the dancing, and the "rightness" of the partnership, take hold.

As for classical ballet today, I agree with Alexandra about Ballet Nacional de Cuba. But Cuba has invested many decades in cultivating a color-blindness and color neutrality among its people. In the U.S., young people seem to have moved quite far in this direction, at least as far as entertainment is concerned. As an "aesthetic issue," I think, the battle is being won, slowly and unevenly.

There's still a lot of room for companies and schools to become more assertive in promoting this way of "seeing" dancers on a stage. Sometimes, as Balanchine seems to have known, change only happens with a strong push from the top.

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Besides, black women and other women of color have been singing lead roles at the world's most prestigeous opera houses for over 50 years and nobody thinks a thing about it. Why? Because people have become accustomed to seeing it.

I think that the issues surrounding black men and women in opera are far more complex than just audience familiarity. Black culture is indelibly linked and ingrained with music. Moreover there is a richness and timbre to many black voices which is unique and crosses race boundaries or perceived boundaries within the high arts.

And where do you see the most non-traditional casting of Shakespeare? In the land of his birth. The Brits don't seem to think that you can do damage to Shakespeare with imaginative casting.

I can't remeber the last time I've heard of a high profile British production of Romeo and Juliet that didn't have the Montagues and Capulets cast as families of different races.

That's a slight exaggeration. There have been several productions with interracial casts and really they have been non starters for exactly the reason that it's a director imposing a racist issue on a play that isn't about race. The Capulets and Montagues can't even remember why they hate each other, the interfamilial loathing isn't there to highlight differences in race or class but to give counterpoint to the main point of R&J - the absolute overwhelming power and thrust of love, specifically young, first love.

As soon as you have a family of caucasians hate irrationally a family of blacks, Asians etc (both ethnic groups I've seen in R&J) you have a race issue, a play about race, with sadly the white family coming off worse as they fall traditionally into the mould of racist oppressors.

It destroys, not heightens or ameliorates the message and point of the play.

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I think the real question here is will a black ballerina ever dance with one of the world's top companies: Paris Opera, Mariinsky, Bolshoi, Royal Ballet, Royal Danish, ABT, New York City Ballet.

In all those companies histories combined there have been two black women corps members and one black soloist.

Two black male principals, two black male soloists, 1 black male sujet and three or four black male corps de ballet members. (Not counting Carlos Accosta whose position is fairly unique in the ballet world.)

Of those combined numbers six belonged to NYCB, one to ABT, and 2 who both belonged to ABT & the RB and one to Paris Opera.

I think the thing to actually just come and and say on the face of it the highest tier of classical ballet companies are instituionally racist, if not to the point of burning crosses and finding novel ways to use bedsheets, the figures speak for themselves.

Speaking of inclusivity and recruiting black students is one thing, however who in their right mind would push their child into a career, or encourage them in a career where there hasn't been a single documented case of any person from your ethnic group reaching the top.

Michaela DePrince seems very talented, certainly very talented athletically, but you can see she's already getting that exceptionally athletic physique which as much as skin colour is the antithesis of what ADs look for in ballerinas. It's not just the aesthetics of skin but body that are such a major issue in ballet and for that to change there is going to have to be such a major shift in the mindset of ballet. Muscular men have a place and are accepted, muscular women not.

There are no easy answers however one could equally ask not just, "when will ballet accept black women" but why would a black woman want to be accepted by an art form which resolutely refuses to acknowledge her existence.

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I don't think the supposed historical settings of ballets matter much when it comes to casting because there has to be such a suspension of disbelief anyway.

Dancing spirits? People dying of a broken heart? Murdering people by dancing them to death? Come on!

LaBayadere is almost always cast with white dancers. How historically correct is that?

I think sadly this argument also carries a strong counter argument. Sadly race and specifically skin colour is an issue in itself, you can't say it shouldn't matter when the very crux of the argument is that ethnicity is the issue.

With suspension of disbelief also comes the crux that ballet has never concerned itself with socio/political and economic realities. Neither in much of the content of the classical canon, nor it's audience members, who if they are to believe they're watching a temple dancer, ghost of a maiden, princess turned into a swan etc also don't want to focus on what actually is going on in the world outside the theatre.

Put a black woman on stage and suddenly there's a race issue by mere fact of her being there. Of who she is and what she represents.

Also it's hardly unique to ballet this bizarre misrepresentation of historical fact. Just think of the most famous Jewish man of all time, Jesus Christ, given the geographical, ethnic and historical situation of his birth, it's most likely that were he to walk onto a bus in Georgia circa 1950 he'd have been made to sit at the back, not the anodyne blond hippy he's routinely portrayed as being by the church throughout the world. Even in African countries.

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Artistic Director are looking for a dancers who are in a particular range of body types. That isn't going to change and IMO shouldn't.

Body type is the thing. I know white women who were really good dancers who were big boned or big breasted who couldn't get hired by major companies. These companies are competitive for everyone.

If there were more dark skinned people out there in major competitions or auditioning for schools attached to major companies there would be more dark skinned people being hired. It is a chicken and egg thing.

Many, many light skinned dancers audition for schools and companies. Most are rejected. If an equal number of dark skinned dancers auditioned then we'd see more skin tones in companies. I don't see that happening because dark skinned people, justifiably, see ballet as a dead end endeavor. I wouldn't assume that a dark skinned person was rejected because of skin color.

I don't see it as an aesthetic issue really. I wouldn't care if there were varying skin tones in the Swan Lake line up.

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I think the thing to actually just come and and say on the face of it the highest tier of classical ballet companies are instituionally racist, if not to the point of burning crosses and finding novel ways to use bedsheets, the figures speak for themselves.

Well, institutions are made up of and directed by people, of course, so what you're doing here is calling all those ADs and their school directors racist. The number of successful dancers of color doesn't tell us anything definitively - we have to look at raw talent. So the best place to look for racism would probably be the schools

Speaking of inclusivity and recruiting black students is one thing, however who in their right mind would push their child into a career, or encourage them in a career where there hasn't been a single documented case of any person from your ethnic group reaching the top.

I think maybe someone who loves the art form and isn't surprised that white roots have produced a white trunk.

Michaela DePrince seems very talented, certainly very talented athletically, but you can see she's already getting that exceptionally athletic physique which as much as skin colour is the antithesis of what ADs look for in ballerinas. It's not just the aesthetics of skin but body that are such a major issue in ballet and for that to change there is going to have to be such a major shift in the mindset of ballet. Muscular men have a place and are accepted, muscular women not.

So you think that this particular aesthetic taste is racist?

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I think the thing to actually just come and and say on the face of it the highest tier of classical ballet companies are instituionally racist, if not to the point of burning crosses and finding novel ways to use bedsheets, the figures speak for themselves.

Well, institutions are made up of and directed by people, of course, so what you're doing here is calling all those ADs and their school directors racist. The number of successful dancers of color doesn't tell us anything definitively - we have to look at raw talent. So the best place to look for racism would probably be the schools

Speaking of inclusivity and recruiting black students is one thing, however who in their right mind would push their child into a career, or encourage them in a career where there hasn't been a single documented case of any person from your ethnic group reaching the top.

I think maybe someone who loves the art form and isn't surprised that white roots have produced a white trunk.

Michaela DePrince seems very talented, certainly very talented athletically, but you can see she's already getting that exceptionally athletic physique which as much as skin colour is the antithesis of what ADs look for in ballerinas. It's not just the aesthetics of skin but body that are such a major issue in ballet and for that to change there is going to have to be such a major shift in the mindset of ballet. Muscular men have a place and are accepted, muscular women not.

So you think that this particular aesthetic taste is racist?

Do you honestly, honestly think that's what I'm saying?

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Michaela DePrince seems very talented, certainly very talented athletically, but you can see she's already getting that exceptionally athletic physique which as much as skin colour is the antithesis of what ADs look for in ballerinas. It's not just the aesthetics of skin but body that are such a major issue in ballet and for that to change there is going to have to be such a major shift in the mindset of ballet. Muscular men have a place and are accepted, muscular women not.

So you think that this particular aesthetic taste is racist?

I'm a bit confused by this conclusion, since there haven't been many muscular woman of any race who've risen through the ballet ranks, at least of what are considered the world-leading companies. I wonder if Karin von Aroldingen would have gone anywhere under Peter Martins or any other AD apart from Balanchine, who adored her. I watched any number of big, lush movers at NYCB top out at senior corps, or, if they were very lucky, soloist. They'd get a stab at Hippolyta, and they be great in the role, but that was pretty much it.

NYCB had any number of Lifetime Achievement Promotions to Principal, but Arlene Croce suggested in a "New Yorker" review that Nichol Hlinka, who was hardly big and muscular, got her promotion because she lost those last extra pounds. To my eyes, it meant her muscles became more elongated, because she didn't look like she had any place else from which to lose the weight.

Watching both the Kirov and Mariinsky corps over the last couple of years, I was astounded at how uniformly thin the calves of the corps women were at the Kirov, and at the Bolshoi, the exceptions seemed to be the tallest dancers in the corps, who also looked older than the wispy women.

The only things I've seen of Michaela DePrince are on YouTube, and she looks like two different dancers in the clips, both posted in 2009:

If all I saw her in was the modern piece, and that video was indicative of her body type -- as thin as the women at the Russian companies and POB -- I wouldn't look twice: she does little but 180 extensions to the side and over 180 extensions in her jumps, with her back leg bent. I assume from the description that her physique is closer to the video where she did in the classical variation, where she had a softer sense of style and phrasing, although she overdid it with the extensions there as well, in my opinion. That was a very different kettle of fish.

Mel Tomlinson may have made it to Principal, but when you look at his roles, they were the Arthur Mitchell roles, Death, Dark Angel, Pluto. Not the romantic roles or the few Princes.

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People often refer to Agon as his "Sputnick ballet" but I sometimes wonder if it is really his Brown v. Bd. of Education ballet. That 1954 decision desegregating the schools unleashed a virulent racist uproar in much of the country. It was a decade before the 1964 Civil Rights Act finally ended the ugly Jim Crow laws still rampant in so many states. Balanchine was not in ignorance of what was happening in the country when he cast that ballet. Imagine how provocative the choreography would have seemed in the 1950s in much of the country with an interracial couple.

I've never seen Balanchine discuss this angle to the ballet and wonder if others have seen any interviews along these lines.

Arthur Mitchell did dance in roles that some people may have forgotten he performed; Bourree Fantasque, Stars and Stripes, I've seen a photo of him in Divertimento No. 15, Western Symphony as he mentions here - the New York Public Library's site has a lot of interesting information on that, I did not see him dance, I wasn't living in New York or going to ballet then.

http://www.youtube.com/watch?v=_dbE4kwvsu8

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I think the real question here is will a black ballerina ever dance with one of the world's top companies: Paris Opera, Mariinsky, Bolshoi, Royal Ballet, Royal Danish, ABT, New York City Ballet.

In all those companies histories combined there have been two black women corps members and one black soloist.

Two black male principals, two black male soloists, 1 black male sujet and three or four black male corps de ballet members. (Not counting Carlos Accosta whose position is fairly unique in the ballet world.)

Of those combined numbers six belonged to NYCB, one to ABT, and 2 who both belonged to ABT & the RB and one to Paris Opera.

Not that this is a great number, but at Ballet Theatre I recall one black corps member (Anne Benna-Sims), two female soloists (Misty Copeland and Nora Kimball) and one male soloist (Keith Lee) in the past. And for some reason I keep thinking Sara Yarborough danced with them briefly. Anyone remember?

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Michaela DePrince is no more muscular than say, Sara Mearns. Michaela is a size zero.

With all due respect both to you and DePrince, DePrince is no Sara Mearns. I agree with Helen that she has some very bad habits and is stuck at the moment in that adolescent phase of thinking ballet is all about sky high extensions, often at the expense of everything else. She's a very young dancer who needs to develop her technique especially the use of her upper body and arms.

Also using terms such as size zero isn't helpful, size zero being that egregious fashion term to validate borderline anorexia within models as being a desired norm "you're not nearing organ failure, you're a perfect size zero".

DePrince isn't the slightest bit overweight, but she has extremely muscular arms, shoulders far more muscular than Mearns and again comparison is invidious they are totally different girls/women, dancers. She also has breasts, an arse her body is developing along the lines of many an African American athlete - if you look at images of her next to her white colleagues she has a very very different musculature. Instead of insisting there is no difference as if difference is somehow a bad thing, it's best to stop ignoring the elephant in the room and actively discuss the difference in black and caucasian musculatures.

It's like a "benovlent" form of racism in insisting there's no difference, instead of embracing the difference as being equally worthy and beautiful and a valid aesthetic which deserves to be acknowledged on its own terms.

The issue here is about whether or not ballet as it is right now is ready to embrace admission of a diverse range of body types which would allow a black female musculature to be included en masse within the corps de ballet, which is an entity about conformity and not standing out.

This weeding out of disparate body types takes place throughout dance schools at every level especially in girls approaching their final growth spurt. I knew one girl at Royal Ballet School who at 16 it seemed overnight developed a massive bust, which given how thin she was made her look very Betty Page, she was thrown out of the school.

I also don't think you can use New York City Ballet as guide line or example for this argument as the ethos, repertory and history of that company is absolutely unique and Balanchine did indeed seem to embrace non conformity - if you look at Gloria Govrin in her heyday, that woman was "big".

Also when I say institutionalised racism I'm not implying a concerted, malicious conspiracy fuelled by hate - I'm talking about looking at the facts as is represented by the make up of these institutions. Many black people are turned off of ballet simply because they see it and there's nothing there they feel is relevant or represents them onstage.

I don't think there's a concerted malicious conspiracy, that's not what I'm saying, however as banal as that argument would be, it's equally banal to surmise that the reason no black dance artist has risen to the top of ballet is because no black child ever presented itself for audition at a school with the potential or talent to go all the way.

I also don't agree with the blame game of "it's the school's fault" "it's the ADs fault" "it's the audiences fault" etc Rather I think the issue here is to just look at it pragmatically as the fact of what it is, and not just ask should it change, but does it want to change and do hundreds of black kids really want to put themselves through the rigours of training for an art which doesn't appear to really want to employ them. It'll take generations to make any kind of concerted difference.

Another "slight" issue I have is saying why should a black dancer settle for modern or contemporary ballet if she has the "chops" for classical ballet. Modern & contemporary forms of ballet are as intense, valid and worthy art forms as a three act classical work. Are art forms in their own right and deserve to be treated and appreciated for their own merits as what they are without being compared as poor cousins of dance for dancers who couldn't cut it in classical ballet.

Also given the larger numbers of black men and women in conteporary, modern and jazz surely this can be seen as a positive thing that they've embraced a dance culture and dance form which is relevant to them, and speaks to them culturally and intellctually.

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It's like a "benovlent" form of racism in insisting there's no difference, instead of embracing the difference as being equally worthy and beautiful and a valid aesthetic which deserves to be acknowledged on its own terms.

I think that's a bit like saying that it's a benevolent form of racism for white people to be chiefly attracted to whites, and black people chiefly to be attracted to blacks. Taste and aesthetics play a factor there as well. But preference isn't even a "benign" form of prejudice unless it's accompanied by actual dislike of what's not preferred. African-American bodies are as beautiful as any other bodies, but ballet has evolved to a point where most companies (Arthur Mitchell's unfortunately dormant company is the obvious exception) have an aesthetic that prefers small and medium busts and bums to large ones. We can lament this – or not. But I think it deserves another word than "racism," which inevitably has an ugly tinge.

Also when I say institutionalised racism I'm not implying a concerted, malicious conspiracy fuelled by hate - I'm talking about looking at the facts as is represented by the make up of these institutions.

I understand that. I understand that you're not calling particular people malicious and hateful. But there can be no institutional racism without racist people in them, and intentionally or unintentionally, the word "racist" trades on very ugly and vicious stereotypes. "Benign" racism never really sounds benign - in my opinion. :)

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I think that's a bit like saying that it's a benevolent form of racism for white people to be chiefly attracted to whites, and black people chiefly to be attracted to blacks. Taste and aesthetics play a factor there as well. But p[/font]reference isn't even a "benign" form of prejudice unless it's accompanied by actual dislike of what's not preferred. African-American bodies are as beautiful as any other bodies, but ballet has evolved to a point where most companies (Arthur Mitchell's unfortunately dormant company is the obvious exception) have an aesthetic that prefers small and medium busts and bums to large ones. We can lament this – or not. But I think it deserves another word than "racism," which inevitably has an ugly tinge.

I understand that. I understand that you're not calling particular people malicious and hateful. But there can be no institutional racism without racist people in them, and intentionally or unintentionally, the word "racist" trades on very ugly and vicious stereotypes. "Benign" racism never really sounds benign - in my opinion. :)

I think the thing is though, in order to fully tackle the issue one has to get away from the worst connotations of a racist individual carrying out an act of hatred, to the more fluid concept that racism is and often can be an internalised, normalised outlook from a specific institution. That while doesn't actively seek to promote marginalisation, nonetheless presents it as a norm.

If we're talking about the "great" companies, who between them have a history of some 2000 years plus, with tens of thousands of dancers passing through their institutions over the years, to only be able to count the number of black dancers who've danced for those companies on two hands at best, whether by accident, design the ethos presented is one of institutionalised racism.

Add to that with the notale exception of Arthur Mitchell none of those dancers appeared in the rosters till the last 15 years of the 20th century. The thing about Kimbell too is that even though she danced soloist roles I believe she wasn't officially a soloist, it wasn't until 2007 that a black woman was officially recognised with status above corps in any of those companies.

The issue of body size & shape isn't racist but of course the unique qualities and shape of black female bodies becomes an issue as it is the antithesis of the enduring vogue for female ballet dancers today. But then judged by the criteria the vast majority of the greatest ballerinas of all time wouldn't even get past the selection process of most companies and schools. One reason why I love Misty Copeland is that she hasn't had a breast reduction operation - she is wonderfully, unapologetically herself.

And also it's not just ballet, it's a two way street. Were I the parent of a talented black budding ballerina I would be extremely wary of allowing her to pursue her goals given the anecdotal and seemingly empirical evidence that there's no place for her or her talents. She or he could be president, secretary of State, Minister for Defence, a media mogul, a movie star, a doctor, a lawyer any of those professions where African Americans have smashed those barriers and glass ceiling - who in their right mind would choose for their child a profession which either intentionally or not, has no place for them?

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