Diversity: The Key to the Survival of British Ballet

What does diversity mean in the ballet sector?

By Dr Sandie Bourne, Founder of the Black British Ballet Project.

Dr Sandie Bourne

Photo: Clovis Lowe

Diversity in ballet should mean the same as any other sector: to acknowledge and include people from all racial and socio-economic backgrounds, sexual orientations and disabilities. Issues around diversity and inclusion have become more urgent since 2020, when the rise of the Black Lives Matter movement led to increased conversations on systemic racism and how it operates.

Historically, from a Black British perspective, British ballet companies have not been inclusive. Black dancers were not employed due to racist assumptions about the Black body and its aesthetic representation on the stage.

Outreach programmes

Much research has been done on the absence of Black dancers in British ballet. In 1976 the Arts Council of Great Britain commissioned a report by Naseem Khan. It highlighted how Black British dancers were forced to go abroad to seek employment with companies like Dance Theatre of Harlem. The Graham Devlin report of 1989 examined access to ballet for the Black community.

Recommendations from these reports were implemented by the major ballet companies to some degree. These include the Royal Ballet’s Chance to Dance programme which started in 1991, and Birmingham Royal Ballet’s Dance Track which began in 1997.

Later, other ballet institutions established their own outreach programmes. While these programmes have identified some brilliant talent, many Black and other global majority dancers who were trained on these programmes only found success in other areas of dance. This lack of professional opportunities is one of the key reasons why, even today, few Black British artists are employed with major British ballet companies, with many of the Black dancers in companies coming from overseas.

Role models

To encourage artists from the Black British community to pursue a career in ballet, they need to be inspired by seeing professionals who look like them, and who are employed at all levels, from the corps de ballet to principals, to choreographers and composers.

Role models who can break racial boundaries to inspire the next generation of artists are essential to demonstrating that a successful career in British ballet is achievable.

From here to diversity

However, this road to a career must begin early in young people’s lives. Diverse dance academies and funded opportunities to train are essential to this. Diversity is needed in both supporting and leadership roles, and positive depictions in ballet repertoire and character roles remain an important part of the solution.

New collaborations with Black composers and choreographers like Kyle Abraham, Alleyne Dance and Joseph Toonga are welcome but remain all too rare. When ballet companies are more diverse and relevant, new audiences will come, which in the long term, is central to the survival of British ballet.

Brandon Lee Sears in Ballet Soul's 'Othello21', directed and choreographed by Ben Love

Photo: Ballet Soul

Further Information

www.blackbritishballet.com

Watch a panel discussion for the Black British Ballet Project facilitated by Dr Sandie Bourne, featuring Brenda Garratt-Glassman, Ben Love and Shevelle Dynott – three generations of Black British dancers, choreographers and dance educators: www.bit.ly/BBBProjectPanel

References

Khan, Naseem (1976) The Arts Britain Ignores: The Arts of Ethnic Minorities in Britain, London: Community Relations Commission.

Devlin, Graham (1989) Stepping Forward, London: Arts Council Dance Department.