Get the Look: Casual Confidence at Ballet Hispanico

Kimberly Van Woesik's style is effortlessly cool. She balances loose layers, like a gray crop top and a comfy sweatshirt wrapped around her waist, with skintight leggings that have just a hint of texture. Her neon-pink sports bra stands out against the charcoal palette.

At first glance, Melissa Fernandez seems to stick to functional and stylish staples: structured black dance pants, a striped zip-up, warm socks. But she sheds layers to reveal a sporty, high-necked leotard that also has a zip front—a subtle, yet effective touch that gives her look symmetry.

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San Francisco Ballet in Petrouchka with the Moor (left) in blueface. Photo by Erik Tomasson, courtesy SFB

It's Time to Overhaul the Blackface (or Blueface) Puppet in Petrouchka

When Michel Fokine's ballet Petrouchka premiered in 1911, none of the (largely white) audience members in Paris objected to the big, dumb puppet being portrayed as a Moor in blackface. Stravinsky's music was stirring, Fokine's choreography was ground-breaking, and Alexandre Benois' sets and costumes were transporting. Nijinsky's portrayal of Petrouchka, the puppet with a human soul, tugged at the heart.

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