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“As Long as They Have Talent”: Organizational Barriers to Black Ballet
Dance Chronicle Pub Date : 2018-09-02 , DOI: 10.1080/01472526.2018.1518076 Lauren Erin Brown
Dance Chronicle Pub Date : 2018-09-02 , DOI: 10.1080/01472526.2018.1518076 Lauren Erin Brown
Abstract This article investigates the relative absence of African American ballet dancers and the field’s slow integration. It counters scarcity theories—not enough interest, money, or opportunities—demonstrating a demand for ballet in postwar black communities. Further, it argues that postwar funding, private sources from the Ford Foundation and national programs under the National Endowment for the Arts, unintentionally strengthened boundaries between white and black dancers through racialized funding, as evidenced in support patterns for the Dance Theatre of Harlem. Instead of normalizing mixed-race companies or questioning racial limits, funding bolstered old stereotypes regarding “looks” and choreographers’ preferences as aesthetic law.
中文翻译:
“只要有才华”:黑人芭蕾的组织障碍
摘要 本文调查了非裔美国芭蕾舞演员的相对缺席和该领域的缓慢融合。它反驳了稀缺理论——没有足够的兴趣、金钱或机会——表明战后黑人社区对芭蕾舞有需求。此外,它认为战后的资金、来自福特基金会的私人资源和国家艺术基金会下的国家项目,通过种族化的资金,无意中加强了白人和黑人舞者之间的界限,正如对哈莱姆舞剧院的支持模式所证明的那样。与规范混合种族公司或质疑种族限制不同,资金支持了关于“外表”和编舞者偏好作为审美法则的旧刻板印象。
更新日期:2018-09-02
中文翻译:
“只要有才华”:黑人芭蕾的组织障碍
摘要 本文调查了非裔美国芭蕾舞演员的相对缺席和该领域的缓慢融合。它反驳了稀缺理论——没有足够的兴趣、金钱或机会——表明战后黑人社区对芭蕾舞有需求。此外,它认为战后的资金、来自福特基金会的私人资源和国家艺术基金会下的国家项目,通过种族化的资金,无意中加强了白人和黑人舞者之间的界限,正如对哈莱姆舞剧院的支持模式所证明的那样。与规范混合种族公司或质疑种族限制不同,资金支持了关于“外表”和编舞者偏好作为审美法则的旧刻板印象。