Tapfan

Seems unfair that Martins should be given the benefit of the doubt about his motives but Misty frequently isn't. Copeland is constantly being accused of playing the race card to steal other people's opportunities and get unwarranted attention.

Well, the frequently mentioned BA favorite Virginia Johnson, feels that quality of movement trumps body type almost every time. She also feels that slowly but surely, that attitude is taking hold across the ballet world.

Based on numerous statements made over the past few years in both old and new media by several classical dancers of color, it's clear that fair or not, many see the folks the SAB and NYCB organizations as being at best, indifferent and at worst, hostile to new people and/or ideas. And that this is all done under the guise of protecting a cherished legacy when it's really about protecting their cushy positions. Their supposed unhealthy insularity is seen this way: Balanchine was a genius. I worked with him directly. So therefore, I'm important and I'm above criticism.

You can think they are an important part of ballet history with a treasure trove of of important works that have been contributed to the classical cannon and still think that many of their people and practices are far too insular or stuck in a perfect past that never was. The fact that people jump to their defense at even the mildest criticism, indicates that some folks feel that their Balanchine and Robbins legacy means that they can do no wrong.

Tai's letter reminds me of Nikkia Parish's assertion that the NYCB /SAB nexus is composed of a closed-off little cabal of self-appointed Balanchine acolytes straining for relevance.

With D), I was attempting to say that no ballerina tasked with being the first black woman principle in a world-class company, is going to be good enough to please everybody. There will always be some who say, "She's not good enough. I would have chosen ________ instead." Or why didn't they wait until someone better came along?

I agree that people of color other than black women have obstacles to advancement. However, many people of East Asian and Latin heritage are as fair or fairer than some Caucasians with Celtic heritage. But black, Asian and Latin people who are darker are seen by some as interrupting the harmony of the corps de ballet.

A) Never mention race/color as being an additional hurdle for women of color in ballet, particularly the darkest women. It makes people feel uncomfortable and everyone knows that race is no longer a factor in ballet because all the people who run it and support it monetarily are political liberals like the Koch brothers. :sarcasm: B) Never appear to be anything less than completely humble about your talent or grateful for your opportunities. Anything less means you think that you and you alone are worthy of attention and professional advancement. C) Don't take advantage of opportunities afforded to you by the AD because you can advance only if you prevent others from doing so. D) Have the good sense to know that just around the corner is Black Balllerina Supergirl who should be promoted to the senior ranks of a major company before other black ballerinas get a chance. It's only fair because all white women in the senior ranks of ballet companies are gifted and universally admired as being beyond brilliant.

The few online performances I've seen of Hee Seo, have left me scratching my head. She seemed to be struggling to get through her solos as if she were exhausted and undernourished. But other folks love her as a dancer. I don't doubt they see qualitites in her dancing I have yet to discover. But I don't think she was promoted to fill some quota just because I don't see what's so great about her.

Once again, let the church say amen!

Precious attended the Bolshoi school. She was never a member of the company.

If Lavine is a capable dancer in your eyes, why would you consider her promotion to be a politically correct choice? If ballet is this great and true art form that people go on about, then it can't be something that white people own and are benevolently allowing black people to participate in IF they behave themselves in a manner that pleases some of the art's gatekeepers. It's wrong to think that Jazz is owned by black people or ballet is owned by white people. Instead, both arts forms belong to anyone who can master or appreciate them. Would anyone say that a white musician who made it into say, Wynton Marsalis' Jazz group was a politically correct hire? Or would they assume he must be pretty good to make it in to such an esteemed organization? Yet people with without a trace of irony, will imply that any black female dancer they personally happen to dislike, is someone who is undeserving. Since when did hiring and promoting dancers become like solving a math problem that has one answer? Since when did subjectivity in judging art and artists die? And people keep building their arguments on hypothetical situations. Lavine isn't in a position to be promoted to principle. So the point is irrelevant.

Jackie Robinson gets credit for being the first black player in the modern MLB era. His importance is in no way diminished because he wasn't the very first.

The newspaper of record is just one of the many sources that have said that DTH wasn't and isn't a major company. And once again, folks have to go all the way back to a long-retired black female dancer to compare to Misty. That's what makes me question how much some ballet fans actually know about classical dancers who happen to black females. Btw, Virginia wants Misty to be promoted and has said so repeatedly. Also, way to miss the point. Nobody, not even Misty's staunchest defenders, compared her skills or artistry to Nureyev's.

I know. I think they all are doing it to advance their careers. I think more ballet people should sell out.

I also would be willing to bet a month's salary that Calvin Royal and Courtney Lavine aren't angry at Misty for highlighting ballet's lack of racial diversity. Courtney has done this as well, albeit on a much smaller scale. In fact, everything I've read so far, indicates that Misty gets on quite well with her co-workers of ALL colors. In fact, in interviews, she comes across as incredibly sweet and cheerful despite knowing about the deep anger and resentment some folks feel towards her.

Tiler Peck has also been on one of those dance reality TV shows. Nobody in classical ballet goes on those shows for artistic credibility.

Is it really a controversial notion that when it comes to the advancement of black dancers in classical ballet, things are particularly challenging for black women? Or do people genuinely believe that them liking Calvin Royal means everything is fine? Because every single time Misty is discussed, people imply that liking black male dancers means the substance of their unending criticism of Misty Copeland has to therefore be logical or fair.

Misty's been a soloist for eight years. She's been marketing herself aggressively for at least five of those years. If she was was so effective in gaining supposedly undeserved opportunities, shouldn't she have more to show for it? It took her 8 years to get Swan Lake and Romeo & Juliet leads. She has never danced leads in Giselle, Don Quixote, Le Corsaire, Manon, Nutcracker, T&V, Sleeping Beauty, Cinderella, La Sylphide, Gaite Parisienne or practically any of the other ballets in ABT's rep. Just what is she stealing from Stella and Sarah?

Not all criticism of President Obama is racially motivated. But some of it most certainly is and unambiguously so. Same with Misty. One need only read the comments section of some articles about her to find blatant, unmistakable racism. I've never felt Copeland or any other artist is above criticism. Heck, I've criticized her. What I have a problem with is the substance of much of the criticism aimed at her. It's just so over-the-top, IMO.

Let the church say, "Amen!"

What could make people dislike her? Them feeling that she's hogging attention that they think belongs to someone more deserving.

Thick is NOT a derogatory term. At least not as I use it. Her limbs and torso are not as thin as most Balanchine dancers I've seen. But that doesn't mean she's overweight, out of shape or has an unattractive body.

That was my point as well, all things being equal, subjectivity still comes in to play more times than not. Even at sainted NYCB.

Actually, I've NEVER stated that I thought people who dislike Copeland or her PR tactics are racist. Not once. Misguided, culturally myopic, defensive and over-the-top, yes. Racist, no.