DIVERSITY EN POINTE: MINIMIZING DISCRIMINATORY HIRING PRACTICES TO INCREASE BALLET’S CULTURAL RELEVANCE IN AMERICA

Abstract

Ballet was established as a performing art form in fifteenth century French and Italian courts. Current American ballet stems from the vision of choreographer George Balanchine, who set ballet standards through his educational institution, School of American Ballet, and dance company, New York City Ballet. These organizations are currently the largest-budget performing company and training facility in the United States, and, along with other major US ballet companies, have adopted Balanchine’s preference for ultra thin, light skinned, young, heteronormative dancers. Due to their financial stability and power, these dance companies set the standard for ballet in America, making it difficult for dancers who do not fit these narrow characteristics to succeed and thrive in the field. The ballet field must adapt to an increasingly diverse society while upholding artistic integrity to the art form’s values. Those who live in America make up a heterogeneous community with a blend of worldwide cultures, but ballet has been slow to focus on diversity in company rosters. By instituting hiring practices that prioritize a range of ages, races, genders, and body types, the field could experience positive outcomes such as increased audience engagement, additional funding sources, and diverse artistic contributions from dancers who may normally be excluded from performing opportunities. External catalysts will be needed to create this change, and this paper explores a few possible sources: anti-discrimination law, pressure from new societal norms, and funding sources could all play a part in increasing ballet’s cultural relevance through a more diverse cast of dancers.