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It’s one of ballet’s ironies - the outside world has long viewed the male dancer as the antithesis of conventional masculinity, yet the culture inside ballet can still be somewhat bro-y. To have a public queer identity, or to be perceived as too effeminate, can still affect a dancer’s ability to land these lead roles.
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The canon is small the institutions are formal and steeped in history and the masters who cast the principal male roles - Romeo, Don Quixote, Prince Siegfried in “ Swan Lake” - sometimes select dancers who embody the conventional male hero, onstage and off. If you didn’t know much about classical ballet, you might think it’s an obvious home for queer artists and narratives, but it’s more complicated than that: Ballet, of course, has always had gay dancers and choreographers and homoeroticism, but it’s an artistic discipline shaped by tradition. Shortly after “Not Our Fate” premiered, Justin Peck, City Ballet’s resident choreographer, further challenged ballet’s gender norms when he adapted the woman’s role in the pas de deux at the heart of his 2017 “ The Times Are Racing,” pairing Stanley with Daniel Applebaum, a 32-year-old gay soloist with the company. Yet Chamblee had never performed a pas de deux explicitly depicting two men in love. We’ve seen choreographers invert genders, often casting men as Cinderella’s evil stepsisters for a laugh. Men have danced together before in ballet, typically in expressions of friendship or rivalry, such as the death duet between Tybalt and Mercutio in “Romeo and Juliet,” first choreographed in Czechoslovakia by Ivo Vana Psota in 1938. (I showed the clip to a gay friend, who said, “That basically sums up my relationship with my boyfriend.”) Rather than putting a man into a woman’s role, Lovette choreographed the piece for two men the audience can see the dancers negotiating their positions, just as queer couples negotiate theirs. It’s a thrilling duet, both men in white T-shirts and black pants moving toward and away from each other, embracing and rejecting and succumbing to desire and love.
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Koch Theater, it sent a jolt of relevance through an art form that often feels mired in another era. When it premiered last fall at New York’s David H. We’re looking at a Facebook video of Chamblee and his fellow company member Taylor Stanley, 27, in a romantic pas de deux in the choreographer Lauren Lovette’s “ Not Our Fate.” The ballet depicts a love story between two men of color not as subtext but as central narrative. Although time has devoured that sheet of paper, I still remember the gentle message embedded in his words: One day, you too will find yourself. Two months later, he wrote back, apologizing: He’d been on tour. He seemed startled, and a little embarrassed, but he came to understand what I was trying to say: “If you need someone to talk to, you can write me, care of the Ballet.” The next day, I rode my bike to the library and looked up the address in Winnipeg and sent a letter trying to express something about myself I had never expressed before. Out of nowhere, I told him he was my favorite ballet dancer in the world. The isolation of my queer youth was about to return. He might have said, “Lovely party,” but that was it, he was on his way. Now he was in loose linen pants with a drawstring belt and an open collar that exposed the rod of his clavicle. Onstage, the ballerino wore brown tights that showed the trunks of his thighs, and everything else. Something about his movement told me he was gay, and I felt he was dancing not only for himself but for me. Earlier that evening, I had seen the dancer turn, leap and smile onstage, expressing through the mute language of ballet who he was. No, this is about the ballerino - my word for him - I met and what he represented to a lonely gay kid in Southern California in 1984, a kid who had never before met another gay person. I recall about 200 people - family friends, Olympic officials and maybe 25 dancers - eating curry (is that right?) off paper plates. The company had come to Los Angeles to dance in the Olympic Arts Festival, and my parents volunteered to host a post-performance dinner in our backyard. When I was 15, I met a dancer from Canada’s Royal Winnipeg Ballet.