Roberta

For the record, there is only one God worshipped by Christians. I hope we are moving forward in the ballet world with sensitivity to all cultures. and beliefs. It's not simple to alter ballets and mindsets but also where it can be done, I think it should be. I really can't see there is anything to argue about in this.

Does it? You think trying to overcome prejudice is weak and I shouldn't bother (I've tried to counter it most of my life) and that all those ADs who are altering their repertoire are weak and should be bowing instead to those who think racism and racist / cultural stereotyping in ballet is OK and doesn't need rethinking as they like things as they are? That those who do want to overcome prejudice are a minority? Well. A not so popular opinion then in the LA Times it seems. https://www.latimes.com/opinion/op-ed/la-oe-fisher-nutcracker-chinese-dance-revisionism-20181211-story.html

https://www.nytimes.com/2021/11/29/arts/dance/nutcracker-asian-stereotypes-rethinking.html "“The Nutcracker,” the classic holiday ballet, is back after the long pandemic shutdown. But many dance companies are reworking the show this year partly in response to a wave of anti-Asian hate that intensified during the pandemic, and a broader reckoning over racial discrimination. “Everybody learned a lot this year, and I just want to make sure there’s absolutely nothing that could ever be considered as insulting to Chinese culture,” said Mikko Nissinen, artistic director of Boston Ballet, who choreographed the ribbon dance. “We look at everything through the lens of diversity, equity and inclusion. That’s the way of the future.” "

R and J is a ballet (ballets in fact) by various choreographers based on possibly the writing of Will Shakespeare (with alterations) who took the story from elsewhere for his play. The issues include ones of racism and orientalism really. Those are biggies. And we can say 'Oh it's only a fairy tale which nobody takes seriously' all we like but we need to look at the wider problems of carrying on promoting and re-enforcing those stereotypes on the grounds we are not the ones trying to overcome centuries of prejudice and we like a nice night out at the ballet. And thankfully the ADs of ballet companies appear to be taking this onboard and ignoring the 'oh it's political correctness gorn mad' and the Daily Mail comments section blusterers and simply getting on with change.

I think Mr Zed is perhaps unfairly being the subject of ire when he is merely reflecting what is actually happening in the wider dance world, expressing the problems with the ballet La Bayadere from the cultural sensitivity perspective and campaigning for change, as he has every right to do. Taking newspaper articles at face value when making judgement about him possibly isn't telling the full story. The issue isn't simply about Hinduism. Sir Peter Wright and the ADs of BRB and RB took onboard the perceived racism and cultural problems with Chinese and Arabian dances in Nutcracker some time ago and changed them. I'm not sure La Bayadere is so readily altered. I have my suspicions we won't be seeing a revival at the ROH anytime soon though.

So the posts regarding problems at the SF Ballet with cultural diversity and sensitivities which Tamara Rojo has inherited have all been hived off to another thread?

SF Ballet has been greatly affected by these issues though. The dancers themselves demanded change. https://www.kqed.org/arts/13909322/sf-ballet-diversity-commitments Rojo isn't in a bubble outside the rest of the ballet world. Rojo herself is very much aware (as she was at ENB) and will have to carry on dealing with them. Difficult to see how anyone can think this isn't about Rojo and SF Ballet. https://digitalcommons.sia.edu/cgi/viewcontent.cgi?article=1071&context=stu_theses

These issues haven't passed Rojo or SF Ballet by. Not at all. https://www.kqed.org/arts/13909322/sf-ballet-diversity-commitments

It's still very much a current issue though in the 'ballet world' it's not going to go away. How it is dealt with by different ballet company ADs remains a subject of interest. Boston Ballet has its cards on the table. Like it or not, racism and culturally offensive stereotypes in ballet are not being simply accepted as the norm 'because these are fairy stories and we enjoy the ballets' any longer. Boredom with the issue is not going to make it vanish. An old one which is still relevant https://www.theguardian.com/stage/2019/dec/04/the-australian-ballets-nutcracker-tones-down-the-yellowface-and-its-a-relief

In this country we tend to say 'leading thinkers' as shorthand and I've never considered that to be difficult or worrying. Is it not how we evolve, move on? Is this not what all who strive in academic circles to research and pose questions and propose solutions do? Think? Is this not how racism against Black people was first challenged, by 'thought leaders' suggesting that hey, hang on, Black people are actually worthy of being treated exactly as non Black people are? That we should examine our ideas and maybe change? Is this not how slavery was abolished? I appreciate that the 'thought' of not being able to watch certain ballets in future as hey, they are, once thought about, racist and culturally offensive as they stand to vast swathes of the world's population is hard for some to get heads around, but the cosy world of ballet is moving on and it is happening. I suspect protesting to the ROH management on the grounds of 'don't care like it and want to see it' will cut little ice. And Tamara Rojo as AD will have to face all this at SF Ballet, as all other cultural leaders are having to do.

Someone who thinks, studies, researches and has shared those thoughts with others who have also thought and appreciated that there are problems? I find that quite refreshing. All perfectly normal. It's maybe US terminology but that's where Boston Ballet is. https://www.kennedy-center.org/artists/c/ca-cn/phil-chan/#:~:text=Phil Chan is a co,alumnus of the Ailey School. Phil Chan is a co-founder of Final Bow for Yellowface, and author of Final Bow for Yellowface: Dancing between Intention and Impact, and the President of the Gold Standard Arts Foundation. He is a graduate of Carleton College and an alumnus of the Ailey School. He has held fellowships with NYU, the Manhattan School of Music, New York Public Library for the Performing Arts, and is currently a fellow at Harvard University, Drexel University, and the Institut National d'Histoire de l'Art in Paris. As a writer, he served as the Executive Editor for FLATT Magazine and contributed to Dance Europe Magazine, Dance Magazine, Dance Business Weekly, and the Huffington Post, and current serves on the Advisory Board of Dance Magazine. He served multiple years on the National Endowment for the Arts dance panel and the Jadin Wong Award panel presented by the Asian American Arts Alliance. His latest choreography project, the "Ballet des Porcelaines,” premiered at the Metropolitan Museum of Art in December 2021 and will tour throughout 2022. He is a Benedict Distinguished Visiting Professor of Dance at Carleton College in Fall 2022 and was just named a Next 50 Arts Leader by the Kennedy Center. Further information on Phil Chan here. A very distinguished CV. https://www.danceusa.org/phil-chan-dance-usa-artist-fellow

I note, with I admit a certain amount of dismay, that no-one really has actually engaged with the substance of why these ballets are seen as problematic and how offensive certain stereotypes are, especially to many of those not of a western and white background. Dancers themselves are asking for changes, as companies (and audiences) become more culturally and ethnically diverse. I'm not really sure that 'if you don't like it don't go' is the way forward in these particular circumstances and clearly, in the wider world of ballet than this forum, nor do those in charge of companies. Sir Peter Wright got it, as did company management, at Birmingham RB and the Royal Ballet https://www.seeingdance.com/birmingham-royal-ballet-nutcracker-221123/ In Act II, the company grabbed the chance to show off in the themed Spanish, Arabian, Chinese and Russian dances. Having removed the awkward and serious issues around the Chinese dance a few years ago, the Arabian has been similarly re-choreographed to remove the old-fashioned stereotypes it too contained but while still keeping faith with tradition and heritage.

Shakespeare used the story, it didn't originate with him. And to quote from that piece I linked above Nonetheless, I believe the conversation around “La Bayadère” and other similar ballets—notably Scheherazade and Le Corsaire—provides the public with an opportunity to understand how artistic narratives affect cultural interpretations and dynamics. While it is not a question of canceling it altogether, the ballet cannot be excused as a product of its time. Companies must do better not only to increase diversity, but also include non-Western perspectives to their creative interpretations to create a more sensible, but overall more human and respectful approach to an art that has historically been monopolized by a distinctly Western, white, and exclusive circle.

There's a little further reading here. https://www.sundialpress.co/2022/05/12/la-bayadere-orientalism-racism-and-classical-ballet/ On the topic of that huge donation to SF ballet. Very welcome indeed though arts funding in the US is very different to that in the UK and there are large tax breaks for donors.

For those who haven't read it I will post all of Boston Ballet's statement here. I think it provides context for what I suspect will spread more widely to other companies. This is not new and it's actually hardly news, many other ballet companies are looking at their schedules and saying there are problems, how can we deal with them? See Paris Opera, as I said above. It's not Rojo and it's not SF Ballet but Boston is a large, highly regarded company and this cannot be readily dismissed. Kevin O'Hare has also signed the Final Bow for Yellowface pledge. "Boston Ballet’s 2023–2024 season includes a 25-minute work of classical ballet known as Kingdom of the Shades. Widely recognized as one of the grandest examples of nineteenth-century Russian ballet choreography, Kingdom of the Shades is an abstract scene depicting 28 female dancers performing in unison along with a pas de deux between a male and female dancer. Kingdom of the Shades is an excerpt of a full-length ballet called La Bayadère. In our ongoing commitment to DIVERSITY, EQUITY, AND INCLUSION, Boston Ballet is not presenting the full-length production of La Bayadère. We recognize its problematic storyline and strongly disagree with its appropriation of South Asian culture. It is important for the Company to preserve the best of classical choreography without perpetuating culturally insensitive and offensive portrayals. The sets and costumes of Kingdom of the Shades do not appropriate cultural scenes or clothing. We do not believe the scene reinforces any negative stereotypes or problematic themes present in the full ballet. Boston Ballet remains committed to our institution-wide DIVERSITY, EQUITY, AND INCLUSION work, including staff training, building a racially diverse team, and evolving the relevance of our artistic identity and repertoire. We also credit Phil Chan, a thought leader in the field and author of Final Bow for Yellowface and Banishing Orientalism. Artistic Director Mikko Nissinen has signed Phil Chan’s Final Bow for Yellowface 2018 PLEDGE as a commitment to eliminate outdated and offensive stereotypes of Asians on our stages. It is because of these commitments that we recognize the problematic history of La Bayadère and chose not to present the full ballet in our 2023–2024 season." https://www.bostonballet.org/home/the-company/a-statement-on-kingdom-of-the-shades/#

Reality is this is an issue that has been rumbling around for a considerable time, it has affected many companies worldwide. It's not simply one man and a small company touring the UK. Here is Boston Ballet's statement on programming Kingdom of the Shades for the 2023 / 24 season, as opposed to the full ballet. It does believe the full ballet poses difficulties. https://www.bostonballet.org/home/the-company/a-statement-on-kingdom-of-the-shades/ I look forward to seeing how Rojo deals with this.

It appears La Bayadere was cancelled in Kent also. https://www.kentlive.news/news/kent-news/chatham-theatre-cancels-controversial-la-6207067 There's a more detailed piece here about some of the problems, and how various companies are tackling them. This isn't an isolated incident. https://pointemagazine.com/la-bayadere-orientalist-stereotypes/ I wonder if Tamara Rojo will have any difficulties in San Francisco?

I thought what he had to say had some foundation in the reality of the ballet, and so presumably did the company targeted; it dropped the performance. You may not like what he said; however he has every right to say it. So far as I know the Royal Ballet hasn't stated it is dropping the ballet or looking at changes. The article wasn't about the Royal Ballet. It doesn't appear to be scheduled any time soon. Paris Opera Ballet, however, is making alterations to La Bayadere in light of what it sees as cultural sensitivities and these changes are at the request of members the company itself. Times are changing, ballet will change with the times. It's inevitable.

I suspect Roberto Bolle is popular among the company and management, a trouper who can be relied on to fly in and perform. It's clear Kevin O'Hare thinks highly of him and Nunez was obviously thrilled. 25 years of association with the Royal Ballet is quite noteworthy and he is an international star. It must be difficult when you're a guest and not really rooted anywhere to be able to have these small celebrations. Though he still looks amazing, Bolle can't go on dancing at this level forever so the opportunity was taken to say thank you. I think these events cost little (a short speech, a line of print and a bottle of bubbly) and bring joy to many. Bolle was obviously greatly touched. It's all nicely human.

Paris Opera Ballet dancers got to be sensitive in around 2021. https://www.classicfm.com/discover-music/periods-genres/ballet/paris-opera-bans-blackface-after-staff-pressure-end-racism/

I appreciate this is going back to a previous week, for anyone wishing to hear Kevin O'Hare's speech at the end of Manon on the occasion of Roberto Bolle's 25 years with the Royal Ballet it is here. https://youtu.be/KrytUJHqGKc?si=C1zpPjohH7Bx_f4k

My reading of what he said was that it was a slightly ironic take on diversity, or the lack of it, in ballet right now. It's improving, though there's a journey ahead. I doubt the dancers are particularly insulted by him stating what is obvious.

Whatever you think of the journalism or the person making the complaint, however much you enjoy a ballet that doesn't offend your own cultural sensitivities, or don't care that it may offend others, it is difficult to look at what he says thoughtfully and not appreciate he has a point or several. We used to flock to public hangings as a form of entertainment, we eventually thought it wasn't appropriate and moved on. I don't see this issue going away soon. How it resolves itself is anyone's guess. I understand the Nutcracker changes were part of wider discussions with the dancers of the company. I preferred the older Arabian though I do feel the new Chinese gives opportunities for the company men to shine. A number of newer company members have made their mark and, clearly, enjoy performing it. Kevin O’Hare is one of the signatories in the ‘Final Bow for Yellowface’ campaign, whose pledge is to ‘commit to eliminating outdated and offensive stereotypes of Asians (Yellowface) on our stages’.

I'm unsure it was an issue, a value statement, more a statement of fact. "Ballet diversity being what it is". Possibly he was being slightly ironic.

It did what it said on the tin? All the choreography was new and made for the company?