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Ballets Russes and Blackface

Published online by Cambridge University Press:  29 December 2020

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Abstract

Prompted by Achille Mbembe's reading of how racial assignation functions, this article examines the recurrences of two blackface ballet characters, the Golden Slave in Schéhérazade and the Blackamoor in Petrouchka, on twentieth and twenty-first-century dance stages, in exhibits, research, and pedagogy. The company that first performed these racist stereotypes, the Ballets Russes, has been canonized as crucial to the emergence of modernism in the performing arts more generally, although consistently Orientalized in the process. The designation of works revolving around racist stereotypes as “masterpieces,” and their constant reiteration, amounts to complicity with racism that is not limited to ballet stages.

Keywords

Ballets RussesblackfacecanonizationdecolonizationDiaghilevFokineOrientalismPetrouchkaracismSchéhérazade
Type
Articles
Information
Dance Research Journal , Volume 52 , Issue 3 , December 2020 , pp. 76 - 96
Copyright
Copyright © The Author(s), 2020. Published by Cambridge University Press on behalf of the Dance Studies Association

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References

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