Prompted by Achille Mbembe's reading of how racial assignation functions, this article examines the recurrences of two blackface ballet characters, the Golden Slave in Schéhérazade and the Blackamoor in Petrouchka, on twentieth and twenty-first-century dance stages, in exhibits, research, and pedagogy. The company that first performed these racist stereotypes, the Ballets Russes, has been canonized as crucial to the emergence of modernism in the performing arts more generally, although consistently Orientalized in the process. The designation of works revolving around racist stereotypes as “masterpieces,” and their constant reiteration, amounts to complicity with racism that is not limited to ballet stages.

中文翻译：

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芭蕾舞团罗斯和黑脸

在 Achille Mbembe 对种族分配如何运作的解读的推动下，本文考察了两个黑脸芭蕾舞角色，即 Schéhérazade 中的金奴和 Petrouchka 中的 Blackamoor，在 20 世纪和 21 世纪的舞蹈舞台上，在展览、研究和教育学。最早表演这些种族主义刻板印象的公司，俄罗斯芭蕾舞团，被认为对更普遍的表演艺术中现代主义的出现至关重要，尽管在这个过程中一直被东方化。将围绕种族主义刻板印象的作品指定为“杰作”，并且不断重复这些作品，等于与种族主义共谋，不仅限于芭蕾舞舞台。