Sergei Polunin to Guest With POB, Despite Homophobic Comments
Though Polunin has long had a reputation for behaving inappropriately, in the last month his posts have been somewhat unhinged. In one, Polunin, who is Ukrainian, shows off his new tattoo of Vladimir Putin:
But his remarks about Putin ("What if Vladimir Putin would become leader of the world," "Thank you To Vladimir Putin for Keeping One World Order away from taking power over the world") are not the most disturbing of his recent posts.
A troubling tirade about gender and sexuality remains on his feed, and though it's hard to discern his point through his manic language, it is unquestionably homophobic, transphobic, misogynistic and violent:
The dance community has expressed concern for Polunin—who has in the past struggled with drug and alcohol addiction—since his Instagram took this dark turn. And it's true, something seems to be deeply wrong. But we shouldn't see Polunin's comments as just the latest antics from ballet's resident "bad boy"; they should be taken seriously.
Enter Paris Opéra Ballet: Just today, it was reported on Twitter that the company has invited Polunin to guest in their upcoming production of Swan Lake.
POB dancers have already expressed their dismay at the choice, coryphée Adrien Couvez stating on Twitter that "Our company promotes values of respect and tolerance. This man has nothing to do with us":
Are Polunin's comments not egregious enough to warrant blackballing? And did POB not consider that their dancers may not feel safe dancing with Polunin after these remarks?
Based on his history of walking out on performances (and what seems to be his current mental state), it is questionable whether Polunin will follow through with this guesting opportunity. But still, the offer shouldn't have been made in the first place.
Not only is Polunin not being ostracized for his remarks, but he has been given multiple opportunities since making them. Just last week, luxury fitness brand Equinox released a video featuring Polunin that they later removed from their Instagram page.
Why Polunin, and why now? There are countless other male dancers—who don't have unacceptable language clearly displayed on their Instagram feeds—who would excel in either of these opportunities.
It was a long time coming, but ballet's bad boy has finally become too bad for ballet. Ballet should treat him accordingly.
On August 19, 1929, shockwaves were felt throughout the dance world as news spread that impresario Sergei Diaghilev had died. The founder of the Ballets Russes rewrote the course of ballet history as the company toured Europe and the U.S., championing collaborations with modernist composers, artists and designers such as Igor Stravinsky, Pablo Picasso and Coco Chanel. The company launched the careers of its five principal choreographers: Michel Fokine, Vaslav Nijinsky, Léonide Massine, Bronislava Nijinska and George Balanchine.
Just four years ago, the University of Southern California's Glorya Kaufman School of Dance welcomed its first class of BFA students. The program—which boasts world-class faculty and a revolutionary approach to training focused on collaboration and hybridity—immediately established itself as one of the country's most prestigious and most innovative.
Now, the first graduating class is entering the dance field. Here, six of the 33 graduates share what they're doing post-grad, what made their experience at USC Kaufman so meaningful and how it prepared them for their next steps:
Yes, we realize it's only August. But we can't help but to already be musing about all the incredible dance happenings of 2019.
We're getting ready for our annual Readers' Choice feature, and we want to hear from you about the shows you can't stop thinking about, the dance videos that blew your mind and the artists you discovered this year who everyone should know about.
Chiara Valle is just one of many dancers heading back to the studio this fall as companies ramp up for the season. But her journey back has been far more difficult than most.
Valle has been a trainee at The Washington Ballet since 2016, starting at the same time as artistic director Julie Kent. But only a few months into her first season there, she started experiencing excruciating pain high up in her femur. "It felt like someone was stabbing me 24/7," she says. Sometimes at night, the pain got so bad that her roommates would bring her dinner to the bathtub.