2018 PRESS

2018 By Date

“Grand Rapids Ballet reflects on being more inclusive in ‘The Nutcracker’” - WGVU Radio NPR Grand Rapids, December 24, 2018

Chan said if Peter Martins, leader of the New York City Ballet, could make these changes last year, then so could the rest of the country. [Grand Rapids Ballet Artistic Director James] Sofranko said the ballet hasn’t gotten any complaints from their performance. Still, he wanted to make sure their performance didn’t perpetuate any stereotypes. Sofranko sent Chan pictures of makeup and costumes and videos of choreography. He said there weren’t any glaring stereotypes in their performance, but they talked about how to make the characters stronger.

“Ballet West: The Nutcracker” - Love Dance More, December 21, 2018

Tradition and historical precedent are often inescapable factors in the presentation of classical art forms. However, while familiarity and tradition may draw crowds to The Nutcracker whose sizes far surpass those at other productions, changes may be necessary to support the ballet’s continuation. In Ballet West’s production, a dramatic and deeply necessary alteration of the Chinese divertissement was made in 2013, although it was more cagily framed at the time and lacked clarity as to the nature of the need for change. Through the lens of 2018, however, the new Chinese dance is now just one on a wonderful and growing list of alterations made explicitly to end racial stereotypes in ballet. The Nutcracker, a major source of revenue for Ballet West and most ballet (and other) companies, provides the greatest visibility and exposure for an art form that struggles to be current and accessible. This means that the manner in which The Nutcracker represents ballet is even more critical.

“Dance Companies Pledge To Fight Yellowface In ‘The Nutcracker’” - KNPR’s State of Nevada, Nevada Public Radio, December 20, 2018

Nevada Ballet Theatre believes that people of all cultures and races should be appropriately and respectfully represented in the performing arts; and so we support our fellow ballet companies across the U.S. who are making changes to more accurately represent the Chinese Tea Divertissement in their annual productions of The Nutcracker. Like other companies, we wish to celebrate and pay homage, rather than present anything that may be perceived as stereotypical or offensive. Therefore, we have made slight modifications to our own Chinese variation that range from hand gesturing to makeup application. As these conversations evolve, we look forward to participating in future discussions about this important initiative.

“Nutcracker Truths” - Dance Tabs, December 16, 2018

There’s been a lot of publicity about the elimination of the clichéd, faux-Asian gestures in the “Tea” dance in the second-act divertissement. The little black wigs (for the two women) and whiskers (for the man) have also been removed. Now that the offending details have been edited out, what has remained of the choreography – sharp pointework, simple port de bras, and jumps for the man – is rather generic. The dance has lost its musical and imaginative impulse. This is a ballet-master’s solution, not a choreographer’s. In order to make the dance live again, the company will have to take the bull by the horns and find a choreographer brave enough to come up with something else – a clever, novel, charming dance that fits Tchaikovsky’s flute melody (like a tea-kettle at full blast) and repetitive rhythmic pattern. Perhaps they could try something new every year until they find a solution that’s just right.

“If you're looking for a good portrayal of 'Chinese-ness,' watching 'The Nutcracker' is a mistake” - The LA Times, December 14, 2018

Today, because of the complaints by Asian American actors for more diverse character roles, the stereotypical and even racist portrayal of Asians and Asian Americans is becoming less of an issue, but this is an area still in need of improvement.

“Bringing Down the Curtain on Yellowface” - NPR’s 1A with Joshua Johnson, December 12, 2018

Should longheld traditions change with the times? How has the ultra-white ballet world grappled with issues of race?

“Fresh, vibrant, still the ‘Nutcracker’” - Oregon ArtsWatch, December 12, 2018

Oregon Ballet Theatre brings a sparkling musical vitality to its newest run of "The Nutcracker." Now, let's talk about Tea and Coffee.

“We have to 'be more thoughtful' - How the Odyssey Dance Theatre learned from recent controversy” - Deseret News, December 12, 2018

Regardless of their intent, reinforcing these stereotypes dehumanizes people and reduces them to exaggerated caricatures instead of three-dimensional people," they wrote in a statement on their website. ‘Our shared history is replete of examples of very real harm when we don't see each other as people and single out a group for ridicule and shame. We hope that with creativity, we can find a way to enhance this performance, not censor it.

“'Yellowface' in 'The Nutcracker' isn't a benign ballet tradition, it's racist stereotyping” - The LA Times, December 11, 2018

Ballet people will argue that all of these elements in “The Nutcracker” are just tradition, that no insult is intended. But in 2018, no one should be able to plead ignorance of stereotyping’s dangers. During my “Nutcracker” research in dozens of backstage conversations, I ran into effervescent young ballet girls, most of them white, who dutifully told me that the Chinese Dance helped them “learn about other cultures.” What I saw them learning was how to flatten anyone of Asian descent into a cartoon.

“The Brooklyn Nutcracker Turns a Holiday Tradition Into an Opportunity to Honor Authentic Expressions of Diversity” - Broadway World, December 11, 2018

There's a company in NYC's most varied melting pot of Kings County-Brooklyn Ballet-who have taken it upon themselves to utilize the opportunity The Nutcracker provides not only to create dances that aren't ethnically offensive, but that celebrate diversity in such a way that it honors both the tradition it comes from and expresses the cultural richness of the borough (as well as the many global cultures who've made it their home).

“Meet the man keeping alive Utah's ‘The Nutcracker’ obsession” - Deseret News, December 9, 2018

Other revisions include five set and costume redesigns over the past 74 years. Mother Buffoon has been revamped several times for safety reasons, increased sensitivity to racial stereotyping has led to the elimination of certain makeup, and even the Nutcracker doll itself has had several makeovers.

“PA Ballet’s ‘Nutcracker’ gets everything lavishly right in 50th anniversary production” - The Philadelphia Inquirer, December 8, 2018

Traditionally, the dancers (almost always Caucasian) have worn heavy makeup and performed movement based on unfortunate, vaguely ‘Asian’ stereotypes. But times are changing: Last year the New York City Ballet, for which Balanchine created this work, revamped its “Tea” — losing the pointy-finger nonsense, among other choreography changes — and the Balanchine Trust, which controls the artist’s oeuvre, now allows other companies to do the same. On Friday night, the performers in Pennsylvania Ballet’s “Tea” (including the excellent Zecheng Liang, who, ironically, is from China) presented the new version, now without the offensive racial caricatures. It was a welcome change.

“NY City Ballet’s ‘Rogue Ballerina’ challenges stereotypes” - Inquirer.net, December 8, 2018

We got teary-eyed the first time we saw the dancers’ new routine, their makeup and costumes. I mean it was incredible. If Peter Martins of New York City Ballet can consider changing and making Nutcracker—a holiday tradition—more inclusive, why not every single production?

“Rethinking cultural stereotypes in The Nutcracker” - KUOQ.org 94.9, December 7, 2018

Removing yellowface from theatrical productions has been a frustratingly slow process. Now some ballet companies are beginning to address problematic racial overtones found in The Nutcracker. Dancer Gabrielle Nomura Gainor spoke about the changes with KUOW’s Marcie Sillman, along with Vivian Little and Marie Chong – both former dancers who have gone on to become cofounder of Dance Fremont and artistic director of ARC Dance, respectively.

“Utah’s Ballet West wows crowd with ‘The Nutcracker’ at the Kennedy Center in Washington” - The Salt Lake Tribune, December 7, 2018

“Sklute, who was one of the first artists to sign on to a movement to drop a scene in “The Nutcracker” that used tired and insulting Chinese culture references, including the use of yellowface and pointy hats, said one of the big changes he made in Ballet West’s production was to make that part in Act II more of a ‘celebration, not a mockery. What might have been acceptable as a representation of Chinese culture in 1944 is simply not so anymore,’ Sklute said. ‘And we have to look at how we approach presenting these representations.’ This year’s performance included a Chinese warrior fighting a dragon, a move Sklute says, ‘shows off a strength and a glamour’ of Chinese culture.”

“Episode 77: With Phil Chan & Georgina Pazcoguin” - Dance & Stuff, December 7, 2018

The queens chat about The Favourite before being joined by the queens, Georgina Pazcoguin and Phil Chan. Hear how this fierce duo is drawing attention to the complexity of Asian stereotypes in classical ballet.

“Oregon Ballet Theatre removes 'yellowface' from 'The Nutcracker'" - KATU Oregon, December 7, 2018

As an Asian American in ballet who’s been sensitive to this for a while, seeing this national movement has been really inspiring for me.’ He added, “I would like to commend Mr. Irving as a leader in diversity on this issue. I don’t want to take credit for starting the conversation. We merely consolidated a lot of conversations that were happening around the country already.

“Balanchine’s Nutcracker: Bright New Era For Trademarked Ballet” - DancePlug, December 4, 2018

The Miami City Ballet version has eliminated the finger business, All three of the dancers, two women and a man, who danced in Friday’s Tea performance were Asian and danced in recognizably familiar costume without added makeup. In the variation the male dancer arrives in a box, much like the windup toys in Act I. It is another example of how ballet and entertainment can unwittingly disguise identity issues and promote harmful attitudes. Seeing the characters in danse chinoise ultimately emerging fully as roles for real people still remains a hurdle left to clear.

“Georgina Pazcoguin: ‘I Found My Voice.’” - Bleep Magazine, December 3, 2018

Phil Chan and I didn’t start this discussion, it was already happening, but we’ve asked, What if this became a national thing? A place like New York City Ballet was willing to not erase tradition, because Balanchine is important, but to adapt tradition to include all cultures and educate people in all cultures. We didn’t want to slap people on the wrists but come at it with a respectful attitude of education. This is a production that kids go to see and they are being influenced by what’s on stage. This is about how can we be better.

“NYCB's Georgina Pazcoguin on Her New Initiative to Eliminate Asian Stereotypes in Ballet” - Pointe Magazine/Dance Magazine, November 30, 2018

We thought, if NYCB is open to change, why not everyone else? The pledge is a way for us to consolidate conversations that are already happening in communities all across America and lead by example.

“Recut: ‘Tis The Season For Cultural Insensitivity?” - 89.3 WFPL Louisville, November 29, 2018

If you’ve ever seen “The Nutcracker,” you know a good part of the second act takes place in the beautiful Land of Sweets. Clara and the Prince travel there and meet dancing delicacies from around the world — candy canes from Russia, chocolate from Spain, and the famous Sugar Plum Fairy. But one of the sequences, as historically performed, hits a more sour note: The Chinese tea dance. The segment often features stereotyped caricatures of Chinese people.

“Louisville Ballet Joins Nationwide Effort to Address ‘Nutcracker’s’ Asian Stereotypes” - 89.3 WFPL Louisville, November 29, 2018

If you’ve seen the Louisville Ballet’s version of the Nutcracker recently, you’ll see why Chan was a fan. The Chinese Tea dance exudes both power and playfulness. ‘[Chan] thought the Chinese dragons we use are very appropriate,’ [Louisville Ballet Artistic Director] Curran said. ‘Not used gratuitously or inappropriately and he was pleased with what we had done. There are a lot of versions that are very beautiful and respectful of the Chinese tradition.

“‘Nutcracker’ nation: Dancers from 16 countries cast a spell in the holiday classic ballet,” - The Patriot Ledger, November 22, 2018

While the national dances express traditions, [Boston Ballet Artistic Director] Nissinen this year changed his Chinese dance choreography to eliminate what he felt were stereotypes. ‘I conceived a more neutral Chinese dance, so to say,’ he said. ‘It’s important that these (national) dances are not caricatures.

"From Offensive to Inclusive: How Pacific Northwest Ballet Put a New Spin on George Balanchine’s ‘The Nutcracker’” - Q13 Fox TV Seattle, November 22, 2018

In this case, very minor changes created a much broader acceptability, and I think really included many more viewers.’ [Pacific Northwest Ballet Artistic Director] Boal says. He adds, ‘it’s a change intended in the spirit of the original choreographer. In this day and age I think [George Balanchine] would have made changes to anything that would have been perceived as a racist dance - he would not have wanted that...It’s only fair to him not to represent him as he would have been in 1954 - and to really represent him as he would have wanted to be today, in 2018.

"‘The Nutcracker’ Gets a Makeover,” - PRI’s The World, November 16, 2018

One sure sign we're nearing the Christmas holidays is when “The Nutcracker” comes to town. The ballet first debuted in Russia in 1892. But this year, the performance by many American theater companies will look different. The World’s Carol Hills talks with Mikko Nissinen with the Boston Ballet about what changes have been made.

“Toning Down Asian Stereotypes to Make ‘The Nutcracker’ Fit the Times,” - The New York Times, November 13, 2018

It was looking like a caricature and enforcing some negative stereotypes,” said Jonathan Stafford, the leader of City Ballet’s interim artistic team. “We’re kind of in the middle of an evolution right now, a new cultural awareness. While we need to maintain the integrity of the original, we also need to make sure it works for today’s audience,” he added. “We don’t want people walking out offended.