1st Edition
Antiracism in Ballet Teaching
Part 1: Identities
1. Teaching for Tomorrow
Gabrielle Salvatto
2. Perspective––Dionne Figgins
3. Perspective–––––Lourdes Lopez
4. Native American dancers beyond settler colonial confines
Kate Mattingly
5. Reflections on Quare Dance
Alyah Baker
Part 2: Pedagogies
6. Classical Perspectives: Performance, Pedagogy, and (Changing) Cultures
Anjali Austin
7. Dear Ballet Teachers, Let’s Talk About Race
Ilana Goldman and Paige Cunningham
8. Making space – inclusive and equitable teaching practices for ballet in higher education
Alana Isiguen
9. Dismantling anti-Blackness
Maurya Kerr
10. ReCentering the Studio: Ballet Leadership and Learning Through Intersectional and Antiracist Approaches
Renée K. Nicholson and Lisa DeFrank-Cole
11. Credibility and Expertise: Black Women Teaching Classical Ballet
Monica Stephenson
12. Adjusting pedagogies for developing artists: age-appropriate classes for classical ballet Misa Oga
13. Ballet as Artistic, Scientific, and Existential Inquiry: Incorporating Ballet’s Broader History in a Syllabus and in the Studio
Jehbreal Muhammad Jackson
14. Dive In
Keesha Beckford)
Part 3: Futurities
15. A willingness to shed
Sidra Bell
16. Honoring the Legacy of Antiracist Ballet Teaching & Leadership in Black and Brown Dance Organizations
Iyun Ashani Harrison
17. Ballet’s Ever-Present Presence
Thomas F. DeFrantz
18. Twelve Steps to Ballet’s Cultural Recovery
Theresa Ruth Howard
19. Creating New Spaces: Today’s Black Choreographers
Brandye Lee
20. Ballet’s Futurities––Insights from Choreographers, Scholars, and Educators
Biography
Kate Mattingly is an assistant professor in the Department of Communication and Theatre Arts at Old Dominion University, USA.
Iyun Ashani Harrison is an associate professor of the practice of dance and head of ballet at Duke University, USA.
"Antiracism in Ballet Teaching is an approachable text, making it an ideal anthology not only for ballet teachers inside and outside of academia but also for undergraduate and graduate students. Chapters could easily be included in dance pedagogy courses (especially Goldman and Cunningham’s Chapter 7) and courses that involve reflecting on the experiences of dance artists or the construction of dance institutions. [...] The anthology is highly applicable to many different educational settings, making it an essential book for those invested in ballet who are ready to “get to work” (Howard, p. 172) when it comes to antiracist teaching practices."
Mara Mandradjieff, Dance Chronicle, (47:3, 569-572)
