Could Lucy Negro Redux beckon a new era for ballet?—an Omnivore essay from the Fall 2019 issue.
I believe artwork is more interesting—and will invite new audiences—when a wide swath of people are allowed to tell a variety of stories. There’s just one issue here: most ballet audiences don’t come to the theater to think about representation. Ballet is a form of escapist entertainment that celebrates the athletic prowess of the human body, and the fact is, the bodies on stage are usually white.
They were part of a dying tradition: musicians from the community playing functional music for social dances, not to make a living but because that’s simply what they did. They were also among the last living links to a vast black string band tradition that used to be spread all over the South and other parts of the U.S. but had slowly disappeared until very few were left. And they were swallowed up by the wider societal notion that fiddle and banjo music was strictly a white preserve.
An installment in our weekly series, The By and By.
All of the beautiful songs, the incandescent lyrics—poor translations of what we really want to say when we cry or lift our hands or close our eyes and pray. Poor translations for “God, where are you?” and “It’s all going to be okay” and “I need to feel loved right now, will you love me?” We are called to be still and know. We are called to be quiet and know. We are called to listen and know. We are called to learn and do better.