By Alessandra Kelly
While ballet continues to advance in popularity, the art form remains socially stagnant as demonstrated through the common occurrences of cultural appropriation. The most sophisticated theatrical art form involving movement to convey a story, theme, or atmosphere, refuses to prioritize a simple rule—societal expectations. Many aspects of dance—choreography, costumes, makeup—influence the perception of ballet and the sincerity of the performance overall. In more recent years, social reforms have pushed long-standing ballet companies to recognize the insensitive nature of performances like The Nutcracker, La Bayadère, and Le Corsaire. For example, not only have ballerinas unwillingly painted their faces white for performances, but also dancers have worn blackface for shows such as La Bayadère to imitate a certain character or persona. Professed Melonie B. Murray, an Associate Professor at the University of Utah, “A pervasive whiteness and Eurocentric sensibility and aesthetic has been perpetuated for centuries, and representations of race and ethnicity are highly problematic,” due to the occurrences seen in famed ballets across the world (Murray). Systemic injustices are interwoven in the fabric of ballet culture, and often individuals avoid shouldering the burden of remedying them. Talking about the prejudices apparent within ballet often ends in pandemonium; consequently, no changes occur due to the obstinate choreographers, masters, and directors of ballet who believe in keeping tradition.
La Bayadère, a performance caricaturing an individual’s culture, religion, and very state of being. In La Bayadère, “a dream of the Orient through Eastern-European eyes,” dancers practice blackface to perform la danse de négrillons, where eight young dancers are made up like minstrels, performing caricatures of the “Orient.” Beginning in the 19th century, performances had white performers wearing blackface to perform as stereotyped racial characters. The practice furthered the same degrading stereotypes that plantation owners and politicians advanced to justify slavery; therefore, blackface created a racist symbology representing generations of prejudice, to demean blackness and black people. Ultimately, the practice continues without punishment, causing ignorance within the ballet community.
Within the ballet world, cultural appropriation appears through multiple aspects; however, choreographers utilized one specific detail to illustrate the prejudiced vision of La Bayadère—makeup. Often the instances of cultural appropriation remain for the sake of tradition, and many argue the practice of blackface simply stays for theatrical performances or the art. In fact, Makhar Vaziev, the Bolshoi Ballet’s director, argues the usage of black-face abstains offensive behavior: “‘No one has ever complained to us or saw in these small Moors an act of disrespect”’ (Carmen 81). Furthermore, one of the most prominent figures of the century, prima ballerina Svetlana Zakharova declared, “‘There is nothing strange here, it’s absolutely normal for us…this is art’” (Carman). Overall, their arguments derive from understanding black-face holds a different significance in Russia, one of no ill intent, unlike their Western counterparts. Nevertheless, the ballet fetishizes and condescends Eastern stereotypes, using an Eastern pseudo-religiosity to mash up Hindu temples with Persian harem pants and a gold Buddhist idol. Phil Chan of Final Bow for Yellowface, an organization attempting to eradicate Asian stereotypes in the performing arts, expresses “‘nothing about La Bayadère is actually Indian’” (Carman). The music, story, characters, and choreography of the ballet depict a fantasized Indian culture for a homogenous Western audience; consequently, the ballet seems like a burlesque of civilization.
For over 140 years, La Bayadère has remained a beloved 19th-century staple of classical ballet; moreover, The “Kingdom of the Shades” act exhibits pristine classicalism, with brilliantly musical, virtuosic variations, creating some of the most unforgettable performances within history. Unfortunately, the blatantly apparent issue of racism deters individuals from viewing the whole work. To depict the indigenous people of India, La Bayadère sets “‘a sense very clearly of superiority of the Western Europeans,’” explains Doug Fullington, a dance historian belonging to the consulting staff of Pacific Northwest Ballet School. The minstrels, the only characters with black-face, perform subservient character steps, unlike the royal courtiers with classical ballet choreography. Notwithstanding the overwhelming evidence of cultural appropriation, multiple prestigious companies have terminated the practice of black-face. Benjamin Millepied, the previous director of the Paris Opera Ballet, not only removed the practice of black-face, but also the practice of using whitening powder for dancers. The idea of indistinguishable dancers in unison adds no value to performances like La Bayadère; namely, the great dancing, energy, and individuality, suggest relevant significance, “not a display of pancaked white people” according to Benjamin Millepied. Thankfully, other eminent choreographers and directors feel the same.