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  1. That's wonderful news. Congrats to all concerned.
  2. Tapfan

    ABT: Roster in Review - 2018

    The fear of languishing in the corps is not a phenomenon that is unique to ABT. It's a problem for many large and even mid-sized companies. Dancers like free agents in sports, move around much more frequently than in years past. And some like powerhouse soloist Derek Dunn formerly of Houston Ballet, now dancing with Boston Ballet, don't necessarily leave because they are unhappy, but because they want other challenges. Also, I believe as surely as the president loves to tweet, that there are pockets of talent, administrative and programming mediocrity that exist in practically all of the so-called prestige companies. The concept of unyielding artistic brilliance or even uniform excellence is a largely a myth.
  3. Tapfan

    ABT: Roster in Review - 2018

    I wonder if they'll try to lure Jared Mathews away from Houston Ballet?
  4. Tapfan

    ABT: Roster in Review - 2018

    Eric Underwood's available. That is of course, if he hasn't quit ballet altogether.
  5. Tapfan

    Peter Martins Sexual Harassment Allegations

    I know he's a bit long-in-the-tooth, but how about Arthur Mitchell as a replacement? That'd shake things up a bit. And considering the company's not so long ago rep for having been weak on the diversity front, it's poetic.
  6. Tapfan

    La Scala in Orange County in July 2017

    Precious is a beautiful classical dancer. I hope she doesn't get typecast because she's so strong in contemporary.
  7. Tapfan

    La Scala in Orange County in July 2017

    The people who use Misty's supposedly bad performances as proof that black women can't be great ballet dancers, were going to believe that anyway. Who cares what they think? I'm less fascinated by the crimes against art that Copeland supposedly commits every time she sets foot on stage, than what her mere presence proves. A black woman can pack a concert hall as the central figure in a classical performance art that isn't opera. It may be depressing and vulgar to balletomanes, but the box office power that Copeland and Gilda Squire have unleashed has got most ballet companies at least pretending to care about racial diversity. They actually care enough that some are regularly poaching ballerinas from DTH. I bet Virginia Johnson is both thrilled and extremely annoyed all at once. Not all little girls want to wear the tiara. But many do, including little black girls. That this fact escaped so many in ballet for so many years is very strange. But now they know. For years, ballet people have lamented about the lack of the next big thing that is supposed to wake ballet up from it's doldrums and push it into the future. Who's the new Balanchine? Where's the next Nureyev or Baryshnikov? Where would the next big center of ballet emerge? Would it be in Asia? What if the next big thing in ballet is that none-white people under 50 actually start to care about it? Could that be the thing that "saves" ballet?
  8. Tapfan

    La Scala in Orange County in July 2017

    Actually, Michaela de Prince has been knocked by some balletomanes as having more of a compelling story than actual talent. She gets slammed as being nothing but atheletic and being a distraction to classical harmony. I suspect that any black ballerina of stature, will be tarred as having reached that status due to affirmative action only, especially if said black dancer is promoted BEFORE a favorite white dancer. As I've said before, the only black woman who will escape such judgments, will be someone who is so clearly superior in every way - technique, musicality, physique, feet, stage presence, acting talent, versatility, European standards of beauty and offstage affability - that she towers over the ballet world in the same way that Michael Jordan towered over the rest of the NBA. You have be twice as good to get half as far. In other words, superballerina. And even then, she'll be the ONLY one allowed lofty status even if some other black woman with equal credentials comes along. ( Because isn't one black ballerina enough to satisfy those always complaining social justice warrior people?) To our European friends it may be different in Europe but in the U. S., practically all advancement for racial minorities in a field previously dominated by whites, is NOT achieved on a level playing field. Yes, ballet is very, very, difficult for everyone. But people who are not white have additional burdens no matter how much some folks may insist otherwise. As Virginia Johnson has said, far too much was riding on Misty Copeland's ascendance. There should have been 15 or so black women ready to step up and help break the glass ceiling that has prevented black women from having a ballet career, let alone reaching the principle rank. Since there were so few in major companies, many who view RACIAL diversity in ballet as important, had pinned all their hopes on Misty. As someone who believes that ballet diversity that extends beyond white Latino and East Asian women who are fair skinned, I see better days on the horizon. There are several very promising black, biracial, Afro-Latina and Native American, dancers in the pipeline who feel empowered because Copeland made it to the highest rank. Kaeli Ware, Kamala Saara McDaniels, Olivia Winston, Alexandra "Sasha" Manuel, Kelly E. Hicks, Olivia Bell, Eliana Vaha'i Feao, Alysia Johnson, Raquel Smith, Destiny Wimpye, Tais Vinolo and Helga Paris-Morales are just a few truly excellent prospects along with others too numerous to name. And of course, many want to dance at ABT like Misty and some are already training at JKO. Ware, aged 17 and McDaniels almost 15, are such formidable talents that, both have been offered professional contracts with DTH. (Both declined in order to continue training at prestigious schools elsewhere.) After seeing the wealth of truly exceptional non-white female talent coming up, a friend of mine remarked half-jokingly, that maybe the ballet establishment put so many obstacles in black women's paths all those years, because they secretly feared they'd take over the field like they have in many sports. Laugh all you want. Stranger things have happened. Representation is important. It is something many folks take for granted when EVERYTHING defaults to their group.
  9. I saw that at another news site and was tempted to post it. But seeing as how I've been critical of Martins in the past, I figured people would think I was being mean. This whole thing is so bizarre. The story is begging to be made into an edgy indie film or a sensationalistic Lifetime made-for-TV movie.
  10. Tapfan

    Precious Adams - English National Ballet

    Precious Adams of English National Ballet has been promoted to First Artist. Good for her. I know she received good reviews for her dancing in "In the Middle Somewhat Elevated." I just hope she doesn't get typecast as a contemporary dancer because she has a lovely port de bras, clean pointe work. beautiful lines and a graceful Russian back.
  11. Tapfan

    Misty Copeland, Part Deux

    Sorry, double post.
  12. Tapfan

    Misty Copeland, Part Deux

    It's different for men. The fact that men like Acosta - despite lingering bias - have in rare cases risen to international stardom when black women have been unable to do so, has been a major concern for the black ballet community. And yes, there is such a thing as a black ballet community. They meet every third Thursday at secret locations across the Americas to plot their systematic destruction of the evil, Western ballet establishment. I'm their spokesperson ;) Good folks, nobody wants quotas. Nobody wants to see bad black female ballet dancers. Nobody. Yet some of us insist on seeing racial diversity in ballet because it can enrich the art form and because we KNOW there WERE and ARE black women dancers who are more than deserving to be given the chance. Some of us also believe that there should be more acknowledgement of excellent black ballerinas from the past who didn't get their due. They exist and are part of ballet history. They are not unimportant just because some ballet fans don't know or care about them. I just wish some folks were as concerned about the fact their beloved art form was for the longest time, NOT open to everyone who wanted to master or appreciate it if those people happened to be the wrong color. And the great gods of ballet didn't suddenly snap their fingers and everything in ballet became an egalitarian utopia. Copeland's promotion to principal did not plunge ballet in to a state of soul-sucking mediocrity. Mediocrity could already be found everywhere you looked long before she came on the scene.
  13. Well said. As someone who is an unabashed cheerleader for greater racial inclusion in the classical arts in America, I agree that the term "diversity" is too often used only as shorthand for "lack of black representation." And I wholeheartedly agree that it is ridiculous to expect to see what we in the West would define as "people of color" in ballet companies like the Bolshoi and Mariinsky that are so closely tied to national identity and are located in a largely racially homogeneous country. What I disagree with is the attitude still held by some in the West, that brown bodies shatter uniformity and are therefore an attack on classicism. Evidently, uniformity of style, movement and purpose is always trumped by the distraction of that dark girl in the line of Willies, Swans, Sylphs or Shades. Evidently, other things in classical ballet may evolve, but not the need for everyone to have glowing white skin in Act II of Giselle. And the fact that these attitudes are expressed by some folks whose artistry I greatly admire like Mathias Heymann, is doubly disappointing. If due to his Moroccan heritage, his complexion were darker making his being cast as James in La Sylphide a distraction, would he be okay with that commitment to white being right?
  14. Tapfan

    The Taming of the Shrew

    Bob Fosse is, well a god. People who have never heard of him have been influenced by his work and don't know it.( See Beyonce, who god bless her, steals from everyone in entertainment who is good.) I know that Americans are supposed to worship at the church of Balanchine or Graham, but I'm a heretic. I worship at the the alter of Fosse. And as Gwen Verdon said, he was a superb dancer as well as dance-maker.
  15. City ballet has convinced yet another horse that was peeing into the tent, to come inside. Ford Foundation President Darren Walker who just a little over a year ago, publicly accused NYCB of bias against women of color, is now a Vice-Chair on the board of directors?! I'm truly gobsmacked. I honestly thought the powers that be at City Ballet were largely insulated from criticism and cared little if any what people thought about their lack of diversity. After all, the problem and the grumbling about it from outsiders, has gone on for many, many, years without change. Also, snarky remarks by SOME folks in the NYCB nexus about ABT's Project Plie' implied that some folks think that the diversity problem can't be fixed and that any attempts to do so are nothing more than cynical PR stunts. But as Theresa Howard said at the Seattle Town Hall, the major arts organizations like NYCB seem to be serious about real change this go-around. Many of us who criticized major companies for lack of diversity, were weary of being told we were crazy or racist for noticing. It's so nice to see the gaslighting that insisted there was no problem, stop. Good for everyone concerned.