PROMPT 1: Learning Outcome: Analyze and compare your presumptions about ballet with the viewings in class and the readings. In what ways does ballet enact class, racial, and sexist oppression? Refer to ballets shown in class: Petipa’s original Swan Lake and Matthew Bourne’s contemporary, queer Swan Lake. Also, the original Romantic Era Giselle and Arthur Mitchell’s Creole Giselle, staged in 1983 on Dance Theatre of Harlem. Respond to Kealiinohomoku’s thesis, how does your perception of ballet change when looking at it as a form of ethnic dance? Engage in Dr. McCarthy-Brown’s research as well, considering why historically there have not been Black ballerinas in ballet?
PROMPT 2.Learning Outcome: How did choreographic innovation in the Ballet Russe repertory challenge or confine perceptions of gender and racial and national identity? Would you classify Nijinksy’s Sacre as Africanist or non-Western? Is primitivism in concert dance cultural appropriation? Using a critical race pedagogy lens, how are cultures beyond Western Europe staged in classical ballet?
Give examples of your prior understanding and cultural presumptions from your specific culture (as a college student, as a {your major} major, as a citizen of {your country}, as member of a specific identity group, and also any lived experiences from your own life.
Respond to the texts quoting from the reading and responding to it with your thoughts and ideas or respond to the film viewing
