Dancing Times  |  October 2019
As this summer drew to an end, the subject of the masculinity and sexuality of male ballet dancers reared its head following some ill-chosen words uttered by a foolish television presenter on ABC’s Good Morning America. Said in relation to a story about how much six-year-old Prince George loved his ballet lessons at school, her comments caused outrage around the world. The dance community demanded an apology and went
on to highlight strenuously that it’s OK for men and boys to do ballet if they want to. Reassuring as all this was, I was saddened a stronger case wasn’t made that it’s irrelevant whether a male ballet dancer is gay or not; the dance world, once again, played cautiously with the fact there have always been gay men working in ballet by overly insisting that – with all their strength and physicality – male ballet dancers are real men, as if the two were incompatible. Matthew Paluch bravely tackles the subject of ballet’s internalised homophobia on page 29 this month in his “There’s a elephant in the room, and it’s gay”.
Elsewhere in Dancing Times, as we move into our 110th volume, we look at how dance can best be preserved for the future with the help of choreographer Chistopher Wheeldon, répétiteur Julie Lincoln, and the Swiss Archive of the Performing Arts, and hear from the parents dedicating their lives to supporting their child’s dream of becoming a dancer.
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