What’s interesting is when I started ballet at 13 years old, I was told I had everything that it took to be a ballet dancer, physically, artistically. So that’s why there’s kind of this interesting dichotomy when I think about Black women specifically in ballet and the language that’s being used in telling us that we are wrong for ballet.

Posted in Excerpts/Quotes on 2023-01-23 15:56Z by Steven

“What’s interesting is when I started ballet at 13 years old, I was told I had everything that it took to be a ballet dancer, physically, artistically. So that’s why there’s kind of this interesting dichotomy when I think about Black women specifically in ballet and the language that’s being used in telling us that we are wrong for ballet. Again, I had the ideal body when I joined American Ballet Theater. Of course, I went through puberty — and like a lot of dancers who become professionals between the ages of 16 and 18 … my body did change. But once I became a professional, that’s when people started to really see me as a Black woman in a company where there weren’t any. And that’s when the language started to change around me fitting in.” —Misty Copeland

“‘It chips away at you’: Misty Copeland on the whiteness of ballet,” Fresh Air (National Public Radio), November 14, 2022. https://www.npr.org/2022/11/14/1136026492/misty-copeland-ballet-raven-wilkinson-wind-at-my-back.

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Ruth Ann Koesun, Versatile Ballet Theater Dancer, Dies at 89

Posted in Articles, Arts, Asian Diaspora, Biography, Media Archive, United States on 2023-01-23 15:35Z by Steven

Ruth Ann Koesun, Versatile Ballet Theater Dancer, Dies at 89

The New York Times
2018-02-14

Anna Kisselgoff

Ruth Ann Koesun with John Kriza in Michael Kidd’s “On Stage!” in 1947.

Ruth Ann Koesun, a principal dancer in American Ballet Theater who epitomized the company’s early eclectic profile by excelling in roles that ranged from Billy the Kid’s Mexican sweetheart to the “Bluebird” pas de deux from “The Sleeping Beauty,” died on Feb. 1 in Chicago. She was 89.

Her death was confirmed by her goddaughter, Ellen Coghlan.

Because of her lyrical style in ballets like “Les Sylphides,” Ms. Koesun was often cast as a Romantic ballerina. But she could also show dramatic ferocity, as the evil antiheroine Ate in Antony Tudor’s “Undertow,” which depicts a young murderer’s development.

Contemporary ballet makers favored her. In 1950, Herbert Ross, a new choreographer and future film director, cast her in his “Caprichos,” based on Goya’s etchings. She portrayed a dead woman who is tossed around by her partner in choreographed movements that suggested she was inert…

…Ruth Ann Koesun was born on May 15, 1928, in Chicago to Dr. Paul Z. Koesun, a Chinese physician in Chicago’s Chinatown, and the former Mary Mondulick, who was of Russian descent…

Read the entire obituary here.

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