This article analyzes the processes ofbranqueamento(whitening) contained within the ideology ofmestiçagem(racial miscegenation) through the work of Brazilian dancer, choreographer, and dance pedagogue Eros Volúsia (1914–2004) in the context of the establishment of the myth of racial democracy in early twentieth-century Brazil. I argue that Eros Volúsia not only embodied Brazil's allegedly harmonious racial mixture through her stylized “folk” dances, but herbailado brasileiro(Brazilian ballet) in fact choreographed Brazil's modernity and aspirations of whiteness. I compare Volúsia's prominent career as a performer and pedagogue in Brazil with her brief film career in the United States, where Volúsia had the opportunity to follow in Carmen Miranda's footsteps and become the next “Brazilian bombshell,” but instead chose to return to Brazil, where she was able to maintain her white privilege and her status as author and artist.

中文翻译：

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舞蹈混血儿，体现洁白：爱神沃卢西亚的Bailado Brasileiro

本文分析了流程布兰克门托（美白）包含在意识形态中弥撒（种族通婚）通过巴西舞蹈家、编舞家和舞蹈教育家 Eros Volúsia（1914-2004 年）在 20 世纪初巴西建立种族民主神话的背景下的工作。我认为 Eros Volúsia 不仅通过她程式化的“民间”舞蹈体现了巴西所谓的和谐种族混合，而且她的巴伊拉多巴西莱罗（巴西芭蕾舞团）实际上编排了巴西的现代性和对白人的渴望。我将沃卢西亚作为表演者和教育家在巴西的杰出职业生涯与她在美国短暂的电影生涯进行了比较，在那里沃卢西亚有机会追随卡门米兰达的脚步，成为下一个“巴西重磅炸弹”，但她却选择返回巴西，在那里她能够保持她的白人特权以及她作为作家和艺术家的地位。