Artwork by Nina Gruteser
Theater house lights dim as patrons file into their seats, eager to view the culmination of their donations: the ballet. Originating in the 15th century, ballet entered European society through the Italian Renaissance courts. Nobility learned the art form for celebratory events, and Catherine De Medici introduced it to French courts when she married King Henry II. About 100 years later in 1661, King Louis XIV established the Académie Royale de Danse, the first national ballet academy, institutionalizing ballet into French society. Today, ballet has developed globally and is appreciated by various audiences across the world. It is widely recognized for its technicality and difficulty masked by graceful movement and clean execution. However, despite its visual appeal, the politics and unspoken guidelines behind ballet maintain certain social issues among its dancers. Although a beautiful art form, many fundamental structures in the Western ballet industry perpetuate racial inequality. Its global influence also means that problems within the industry have an immense effect on both dancers and audiences alike. Tchaikovsky’s The Nutcracker, a seasonal staple within the ballet community, is one of many traditional ballets with hidden, damaging origins that are still performed in the same manner today.
The Nutcracker is perhaps the most well-known ballet among people outside of the dance world. Performed annually in almost every company and studio, Marius Petipa and Pyotr Ilyich Tchaikovsky’s two-act ballet epitomizes the holiday season’s cheerful ambience, and its performances are all too familiar to seasoned ballet dancers. Despite being a staple of winter productions in the modern day, the ballet maintains its dated controversial stereotypes of certain cultures and ethnicities. The Nutcracker follows a young girl, Clara, on Christmas Eve, as she is gifted a nutcracker that comes to life and brings her on an adventure, transforming into a young Prince. The second act, titled The Land of Sweets, features different divertissements including Chinese Tea, Arabian Coffee, and Spanish Hot Chocolate in celebration as Clara returns the Prince to his home. Seemingly playful and good-natured, this section of the ballet often uses culturally insensitive choreography, costumes, and makeup to portray these characters. Both audience members and ballet dancers have questioned if Chinese Tea accurately represents how people dance in China. Lyndsey Winship from The Guardian writes how pointy fingers, possibly representing chopsticks, Fu Manchu mustaches, waggling heads, and comically springy jumps, “all add up for some people to a gentle mocking of the fools of the far east”. Many people do not receive regular exposure to Chinese and Asian American culture in general. Misrepresentation within “The Nutcracker” works against those who are trying to create more visibility and equity for Asian Americans. Asian American dancers may be discouraged from pursuing greater roles within the dance world and Asian American viewers may be hurt by performances that ridicule their culture.
Although certain directors and choreographers have different interpretations of the ballet, inaccurate cultural representation and ethnic stereotyping permeates throughout most of its productions. In recent years, many companies and schools have altered how they perform the specific divertissement. Some have taken out the section all together, some creating new characters, and some attempting a more constructive approach: incorporating actual elements of Chinese dance and culture within the dance. These companies have replaced stereotypical colors and imagery with ribbons, dragons, acrobatics, martial arts, and other important aspects of Chinese culture. For example, New York City Ballet and the Royal Ballet in London have both made costume changes to remove offensive Fu Manchu mustaches, while Boston Ballet added a pas de deux inspired by traditional Chinese ribbon dancing. One organization, Final Bow for Yellowface, has worked with prominent ballet companies around the country to reform their portrayals of the debated second act.
Many people question whether social issues should be blocked out from the arts, a supposedly pure haven for society. Should problematic, although traditional, ballets be reformed or totally removed from the ballet repertoire? Some say that continuously reforming some of these ballets strips away their value and originality. Others say that it is high time to correct these ballets and integrate respectful and accurate visibility into the art form. There is no clear or definite answer, but opening conversations and increasing awareness of these topics is the only way to arrive at a conclusion. Despite its problems of racial and gender prejudice, ballet has remained a revered art form and will continue to grow and develop along with society. Leaders within the ballet industry should continue to expose these issues and ballet’s inner workings to the public, so that people can collectively work to resolve these problems, making ballet more inclusive and enjoyable for all.