Abstract

Abstract:

Michel Fokine's 1905 ballet The Dying Swan continues to be performed across cultures and genres. Each new Dying Swan registers a particular racial experience of imperial power and privilege and a specific gendered relation to whiteness as an occupying force. Together, these dances illustrate the performance of white fragility as part of the imperial tradition.

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Additional Information

ISSN
1531-4715
Print ISSN
1054-2043
Pages
pp. 109-129
Launched on MUSE
2018-08-29
Open Access
No
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