I spotted this Venus taking class at Steps (when I visited NYC in September). My first thought was, as she leapt from the left corner for the first side of the last exercise, with all her hyperextension, lean muscle definition, and Notre Dame arches, Shes real. The second thought was, Shes tiny. To me, Misty Copeland does not seem such an unlikely ballerina. I genuinely forget about her skin because it gift-wraps such a gorgeous body built of lines and movement. Classical ballet is discriminatory, to be sure. In way of proportions, and age, and bone structure, in way of things as outside our control, things we cannot help any more than our blood type. It is unfair and not our fault, but it is what we have chosen. It is a snowy field, but technique and artistry always speaks for itself. Rank-changing at the top, the cream of the crop at ABT is tremendous and historic and reminds me of Maria Tallchief, but interests me infinitely less than whats been stirring the youth. I am interested in diversifying ballet from the bottom up. As a teacher, I have noticed the ethnic composition of my classes. As a professional, I appreciate how many dancers out of a Saturday morning class of fifteen five-year-olds will funnel into the big leagues. Few choose this life because it is as selective as top universities, and far less formulaic in that selection. Even if you want this more than a warrior heart craves winning wars, you could tank the audition that changes your life because you didnt sleep enough or didnt smile or didnt stick that triple or didnt wear the right eye-catching color - or miss the audition altogether because the company that will love and respect and inspire you just doesnt exist yet. Rejection is inevitable, unpredictable, and made bottomless by the fact that our judges dont have to provide reasons for their verdicts. Ballet is hard because ballet doesnt have to love you back. Every morning we come back to the barre because we think it just might, someday. That belief, that faith is our confidence in ourselves and not cutthroat competition directed at the girl nearby, her left hand gripping the length of wood that warms us up just as desperately as you are, her back burdened the same as yours. There is a camaraderie there, and there ought to be more love. We all want the same thing. It is unfortunate that so many of our own opportunities hinge on the expense of others. Oftentimes someone is only hired because someone got fired. So weve little to no right to demand room be made for us when there are so many lines to stand in, so many people waiting and working for the same spot. There simply isnt enough room for us all - so we gotta get cozy and be good sports and be thankful for when it is unfair in our favor. I like teaching young dancers. I like seeing the racial enrollment change because of iconic ballerinas such as Misty Copeland now and Evelyn Cisneros and that biography I checked out from the library every week of second grade. The more Filipino girls I see on Saturday mornings, the more Filipino principal ballerinas Ill see at ABT in seventeen years. When youre a minority, you sort of inherently seek to be the first at something. And you have a better chance at being the first at something because youre a minority. There are lots of firsts, even firsts in decades (which is an odd category). Traditions are solidified not the first year theyre introduced, but the four hundredth and forty first (the time between the first formal (court) ballet and today). And women, while the center of todays vision of chiffon and pointe shoes, werent even allowed onstage until Le Triomphe de lAmour (The Triumph of Love, 1681). Misty Copelands cover girl status is fantastic, and my inner seven-year old self is squealing in delight for the spotlight currently fixed on classical ballet, but lets face that fame is a sensation passing. In the words of Valerie Robin (Joffrey Ballet) regarding the movie Black Swan, Anything that exposes the public to dance is helpful. The work is not done, and never done. But it cant start with a quota change, a number game at the top. It will require a shift in culture, not just in number of companies and philosophies of artistic staff, but in the way we treat one another. Its no ones fault that ballet is so lovable and addictive and consuming. So we must first make room for each other. It is an internal, individual effort, a revolution that will take time and compassion. It is worth it because we chose it. Ballet is an Us and a We, and doesnt have to be a You versus Me. The latter is self-important. Ballet is bigger than ourselves and the problems we think we have. We are insignificant, and that is exciting. It is insane and romantic to think that maybe, one day, we will become significant. We choose this madness every moment we are in rehearsal. So smile, be nice, work hard, and look good. This would be a new kind of ballet. [edit:] Or a very old kind of ballet. Mm.
Posted on: Mon, 15 Dec 2014 20:14:05 +0000
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