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Thanks, sandik. Good food for thought. I guess what I’m most interested in is the aesthetics. Does a certain kind of dance look best with a certain body type? If so, why? On a simple level, of course the answers can be obvious (on a tall dancer, for example, “we see more”). Would a company of good dancers far from the current ballet ideal change that ideal? If we could go back 200 years and watch ballet, would that change our ideal, or expand the spectrum of dancers that fit it? I would expect so. So to say it in another way, has our ideal evolved towards _the_ ideal for this particular form of dance (or just neo-classical dance), or are we just people of our times? I think I can guess some people’s answers!

Whatever resistance black, female classical dancers might find due to body type or racism is probably offset, in many cases, by goodwill from other quarters. Just as people on Ballet Alert root for Copeland because she’s African-American, there are surely teachers, choreographers and ballet masters rooting for African-American dancers. But look at the way Copeland has charged that she faced extra hurdles. Imagine yourself as one of a handful of managers at a company, reading a public accusation by someone not of your race, that some of your company’s managers are racist. How do you defend yourself without making an awkward and embarrassing situation worse? Do you even have media access to all the people who’ve heard Copeland’s charges? What do you do, announce at your next dinner party that you’re not a racist? It’s wonderful that Copeland uses her position to encourage black kids. But she’s also made her race work for the advancement of her career, and not entirely, I don’t think, in an honorable way. Has this been written about online? I'd be interested in that discussion.

Certainly racism can be a cover for resisting change, but preferences, whether for what one has gotten used to, or for change, aren't ethical matters. Were those people at ABT who supposedly didn't think Copeland's figure was right for ballet pushing white dancers with similar figures? In other words, women face more competition because more women take dance training? Interesting. Makes sense to me.

Tapfan, not all criticism is vitriolic. Copeland is only famous outside the dance world because of her self-promotion and the public’s interest in anyone perceived to be breaking racial barriers – not, as of yet, because of her dancing. On the one hand, many people in her position would promote themselves in the sometimes questionable ways she does, and she is also trying to encourage black kids, which is admirable. On the other hand, I think some of her self-promotion is unfortunate, as is her conflation of not being cast because she’s busty with racism. Perhaps the general preference for slimmer dancers is a taste that will change as more full-figured ones are cast, and she can help make that change. But equating a preference for the historical norm with racism is rather over-simplistic, wouldn’t you say? Copeland, like the rest of us, is a creature of her time, and so I can understand why she makes that charge, but that doesn't mean it's fair. If I understand you correctly, you believe that black, female classical dancers face tougher hurdles than black, male classical dancers. Why would that be? Because they’re often built like she is, or would there be another reason?

PBS has posted a lovely feature on Copeland.

Funny, I actually find the earth tones handsome, and appropriate for peasants. What strikes me about The Royal Ballet production, on the 2006 DVD with Cojocaru and Kobborg, is that Bathilde looks old enough to be Albrecht's mother.

My goodness - no wonder you became a fan!

Wow, what a great opening bill (was the other ballet forgettable?) and a great seat you chose to see it in. As you may know, Millberg has written a memoir that Balanchine lovers love, entitled In Balanchine's Company. My first trip to the ballet was as part of a high school humanities class in 1975. We saw the Joffrey dance Trinity, The Relativity of Icarus, and The Green Table, in that order. We sat way up in the gallery of Chicago's 4200-seat Auditorium Theatre - but obviously that was close enough.

There are several factors besides racism that probably account for the relatively few number of black ballet dancers: a relative lack of money for lessons; a relative lack of exposure to dance performances; greater interest in historically African-American dance and other art forms; and the perception which, ironically, Copeland has likely reinforced, that blacks meet resistance in the ballet world. All those factors shrink the pool of black dancers. It is also debatable whether or not Copeland's “I will what I want” is a healthy and helpful message, or a self-aggrandizing and unrealistic one likely to stir hostility in kids towards anyone who doesn't cooperate with their will, and engender depression and poor self-esteem (or the presumption of racism) in kids who find out they can’t just will what they want. Did Albert Evans, Aesha Ash, Carlos Acosta, and Desmond Richardson become the controversial figures Copeland has? Is the issue here racism, or is it Copeland? Half the pictures on her Instagram page seem designed to show off her body. If she's the role model she wants to be, one feels sorry for “all the little black girls” who don’t grow up to have bodies that can be as crudely described as she lets hers be described in the caption for one of those photos. They also portray her as super athletic. I hope she gets the chance as well, but I love people a lot less when they praise and market themselves for overcoming handicaps (or what they perceive as handicaps). Everyone has things to overcome. "Look at me, I have overcome" is the flip side of "I'm a victim."

Her value as a dancer can only be determined by people who have seen her dance. Thank you, CTballetfan, for your opinion.

Leaving aside what sounds like misplaced or maybe just unrealistic criticism over conservative repertory, I actually found the above to be a touching tribute.

Editors, what are those anymore? Have you considered writing the editor? I've done so a couple of times in recent years and received polite responses.

Tapfan, I'm glad we halfway agree about something. sidwich, you make a good point. I guess I'm like those Lake Woebegonians gently mocked by Garrison Keillor; when I look at some dancer's Twitter page and see links to rave reviews, and reposted tweets by worshipful fans, I feel a little embarrassed for the dancer. Whether Copeland does that or not, I don't know. I was thinking of others who do.

Assuming that policy for most of the run was policy for the entire run is not exactly a cardinal sin in my book. I also don't see why a critic has to attend every performance.

Thanks, sandik, Jack and macnellie. My copy of the DVD has come. And speaking of the VAI "New York City Ballet in Montreal" series, Joeb Lobenthal, on his blog, reports that Volume 4 is "a humdinger as well!"

Which, if that's the case, is indeed the problem, in my opinion. Talent and aptitude - not backstories, corporate or individual - deserve dance opportunities.

I can't either, not when that's how the game is played today. Still, modesty's a winning (charming) virtue.

Has Acosta said Copeland deserves an ABT Swan Lake? I have no opinion on whether she does or not, although I hope she dances well in Australia. I just think that if skin color should have nothing to do with casting, then skin color should have any thing to do with casting, Why the presumption that hers is a case of "lingering effects," when in fact people who know her dancing disagree about her merits?

Maybe not a relief to Copeland, who has used race to promote her career. Every artistic director in the country with any sense, not to mention human decency, is surely eager to hire and promote deserving black dancers. Copeland has created her own race issue by ginning up outrage from people who have no basis to know whether or not her accusations have merit because they haven’t even seen her dance. That’s one career strategy.

Here's a little something to look forward to, something a lockout is unlikely to scuttle. On October 10 the Guggenheim's Works & Progress series will present a The Death of Klinghoffer program (discussion and excerpts) with director Tom Morris, conductor David Robertson, and undisclosed Met singers. It will be streamed live at Guggenheim.org/live.

From a Merce Cunningham Trust email: Three previous events can be viewed here.

I think we pretty much agree, and I especially like your last sentence. They're disrespectful of her as a woman, which is sexist. So was Robbins in choreographing that episode. But for me their behavior, even allowing for a difference in scale, does not bring to mind the way Jews, African-Americans and Japanese-Americans were treated, because I think the sailors interact with the woman in the first place because they're attracted to her, and they want to be with her. Yes they treat her as inferior, but they do so in that very different context. Also, as I said earlier, the incident makes me uncomfortable too.

Good questions, but I don't think your implied analogy holds. The guys are acting in sexist fashion, but not because they dislike women. In fact, they're acting like little boys who pester little girls and make them cry. They do it because they want attention. They do it because they like the girls.

I think they could only humiliate her if she took that as their intent. I agree with Mme. Hermine, and I wonder if that sort of behavior was not uncommon at the time - sexist and regrettable, yes, but unconsciously so on the guys' part, and not perceived as such by the woman, so not actually inflicting cruelty. But the moment makes me uncomfortable today. In regards to dirac's good point about the style possibly having change over the years, I would think that the woman's acting would be even more important than that of the guys. I think I recall someone - Faye Arthurs? - at NYCB in the mid-nineties almost playing along, indicating that she was more or less amused. Still, one feels bad for the woman, and a little embarrassed - at least I was - for the guys, who are acting like boys.

His father lived to be 106!